
Class JESg^-^- 

Book .n2L 



COPYRIGHT DEPOSIT. 



r.4- 



American Literature — A Laboratory Method 



AMERICAN LITERATURE 

—A LABORATORY METHOD 



BY 

H. L. AAASON 

Professor of English Language and Literature in 

DREXEL INSTITUTE 

Author of " Students' Readings and Questions in English Literature' 



SECOND EDITION 



DREXEL INSTITUTE 
1902 



1^3 



THE LIBRARY eF 


CONGRESS, 


Two Copies 


Received 


APR 4 


1903 


Copyright 


Entry 


Hvix^ ^ S- 


-. ^C 1 


CLASS *" 


XXc No, 


/-L 1- 


.r 


COPY 


B. 



COPYRIGHT, 1901 
By H. L. mason 
All rights reserved 



(iv) 



Cont^nt$ 



91ntto5uction 

l^orkinci Itist of Befetence Books 

Chapter I 
^f(e Colonial peiriod; 



Syllabus A : Colonial Period 
Questions on Colonial Period 



Chapter II 
^h^ Beooltttionarg p«Hod: 

Syllabus A: The Revolutionary Period 
Questions on the Revolutionary Period 



PAGE 

ix-xi 



1-2 

3-5 



6-8 

9-12 



Chapter III 
Statlonal ^tnz ^o«frgt 

Syllabus A: Major New England Poets 13-17 

Questions on Major New England Poets 18-27 

Syllabus B: Minor New England Poets 28-30 

Questions on Minor New England Poets 3^-35 

Syllabus C: Poe and Minor Southern Poets . . . 36-37 

Questions on Poe and Minor Southern Poets . . . 38-42 

(V) 



▼i CONTENTS 

PAGE 

Syllabus D: Poets of the Middle States 43-45 

Syllabus E: Poets of the West 46-47 

Question-s on Poets of the Middle and Western 

States 48-55 

Chapter IV 

Syllabus A: Criticism of Life 56-57 

Table Showing Important Phases of Religious 

Thought in New England 58 

Questions on Criticism of Life 59-64 

Syllabus B: Criticism of Society 65-66 

Questions on Criticism of Society 67-69 

Syllabus C. Criticism of Letters 70-71 

Questions on Criticism of Letters 72-76 

Syllabus D: History 77-78 

Questions on History 79-S4 

Syllabus E: Oratory 85-86 

Questions on Oratory 87-90 

Syllabus F: Nature Studies 91-92 

Questions on Nature Studies 93-97 

Chapter V 
flatiotml 3Etm ^trose 3^lcttott; 

Syllabus A: Adventure 98-99 

Questions on Adventure 100-105 

Syllabus B: Humor and Pathos 106-107 

Questions on Humor AND Pathos 108-114 



CONTENTS vii 

PAGE 

Syllabus C: Mystery AND Terror 115-116 

Questions ON Mystery AND Terror 117-121 

Syllabus D: Idealism 122-123 

Questions on Idealism 1 24-1 31 

Syllabus E: Realism 132-133 

Questions on Realism 134-138 

Syllabus F: The International Novel 139-140 

Questions on the International Novel 141-145 

Table Showing Important Periodicals in the 

Development of American Literature .... 146-147 

Syllabus G: Local Portraiture 14S-151 

Questions on Local Portraiture 152-165 

Syllabus H: The Novel of European Life and The 

Historical Novel 166-168 

Questions on The Novel of European Life and The 

Historical Novel 169-179 

Mote 180 

Sndi^x i8i-iS6 



%nttobncHon 

To read about authors, rather than to read the authors 
themselves, is perhaps a tendency at the present time. But 
the "laboratory method" in literature makes one know the 
works of authors, at first hand. 

To carry out such a method is the aim of this book. A 
scheme of reading lists that give definite references to an 
author's work is arranged so as to show : 

1. How the author is a product of his environment ; 

2. His own development, and characteristics ; 

3. The part he plays in the development of American 
literature. 

Questions based upon the reading folloAv each syllabus. 
They challenge a search, and are so planned as to deduce the 
evolution of the department of thought considered. Whether 
that department be Criticism of Letters, Realism, Idealism, 
or Local Portraiture, the continuity, up to the present time, 
is developed by these questions. Imaginative literature, in 
the form of the novel, is added as a clothing for the period 
studied. No critical matter is given, except that which is 
referred to in an author's own work. Thus Poe and Howells 
are made to express their own canons of art for the * ' short 
story" and "realism"; and Stedman illustrates his own 
method of scientific criticism. 

(ix) 



X INTRODUCTION 

In suggesting the valuation of autliors, it has been the 
endeavor of the writer to present the consensus of opinion 
of such authorities as Edmund Clarence Stedman, Charles 
Richardson, Henry James, ^Villiam Dean Howells, Moses 
Coit Tyler, William Trent, Barrett Wendell, William Payne, 
Lewis Gates, Matthew Arnold, Leslie Stephen, Edward 
Dowden. 

Although the increase of libraries makes more and more 
possible the laboratory method, yet these facilities are varied. 
In making out the reference lists, therefore, the writer has 
had constantly in mind three classes of readers : (i) those 
who have access to a city library; (2) those who have access 
to a town library; (3) those who have a small private library. 
To make authors' orfginals accessible to these three classes 
of readers, duplicate references are given. To secure the 
benefit of the invaluable American Anthology of Stedman, 
the publication of this book has been delayed until the present 
time. 

Four chapters of the American Literature — A Labora- 
tory Method have, in typewritten sheets, been used by the 
classes at Drexel Institute for the last three years. The plan 
of work has been as follows : 

An assignment of a certain amount on the reading list is 
made, to be covered by especial reference to the research 
questions covering that amount. At the next recitation the 
students bring in the result of their search. They are 
encouraged to give their own impressions, and in the class 



INTRODUCTION xi 

discussion, every opportunity is given for the development of 
each student's power of assimilation and discrimination. 
Often a paper is called for, after finishing the study of 
Emerson, Lowell, Foe, etc., and the "Questions" form a 
guide for the arrangement of material. 

A special feature of the book is the consideration of livi>ig 
authors. On this account it is believed that the book will be 
of service not only to students, and literary societies, but to 
those who are individually seeking general culture. In these 
times of many books, it becomes imperative that one should 
know what to read, and how to read, so that the power for 
the enjoyment of what is best may be increased. And that 
our own American literature in its hopefulness, resoluteness, 
and purity, embodies the ideals of American life, no one can 
gainsay. 

Drexel Institute, Philadelphia, June ij, igoi . 



morklns ICist of BeUr^nce l^ooks 

ARRANGED ALPHABETICALLY BY AUTHORS 

[In the syllabuses the references appear under the name of the author, 
as: Stedman-Hutchinson ; Stedman's Anthology ; Carpenter, etc. In this 
list the full title of the book, its publisher, and date of publication appear.] 

Adams, Henry History of the United States. 9 vols. N.Y. 

Scribner, 1890-93. 

Aldrich, Thomas Bailey . Poems. (Household ed.) Bost. Hough- 
ton. 

Allen, James Lane .... Choir Invisible. N. Y. Macmillan, 1900. 
Reign of Law. N. Y. Macmillan, 1900. 

American Anthology, 1787-1899. E. C. Stedman, ed. Bost. Hough- 
ton, 1900. 

Atlantic Monthly . . . Vol. 75, 1895. 

Vol. 80, 1897. 

Austin, Jane Standish of Standish. Bost. Houghton, 

1894. 

Bancroft, George .... History of the United States. 6 vols. N. Y. 

Appleton, 1 89 1. 

Barr, Amelia E Bow of Orange Ribbon. N. Y. Dodd, 

1886. 

Bates, Charlotte Fiske . Comp. Cambridge Book of Poetry and 

Song. N. Y. Crowell. 

Bay State Psalm Book . . Ed. by Dr. N. B. Shurtleff. Cambridge, 

1862. 

Bellamy, Edward .... Equality. N. Y. Appleton, 1897. 

(xiii) 



xiv WORKING LIST OF REFERENCE BOOKS 

BoLLES, Frank At the North of Bearcamp Water. Best. 

Houghton, 1893. 
From Blomidon to Smoky. Bost. Hough- 
ton, 1894. 

Bradford, Wiluam . . . History of Plymouth Plantation ; ed. by 

Chas. Deane. Bost., 1856. 

Bradstreet, Anne . . . . ThePoemsof Mrs. Anne Bradstreet (1612- 

1672). Introd. by Prof. C. E. Norton. 
(Privately printed), 1897. 

Brown, Alice Meadow Grass. Bost. Houghton, 1899. 

Tiverton Tales. Bost. Houghton, 1899. 

Brown, Charles Brockden. Arthur Mervyn. Phil., 1857. 
Edgar Huntly. Phil., 1857. 

Browne, Charles Farrar . Artemus Ward : His Travels. N. Y. 

Carleton, 1865. 

Bryant, William Cullen . Poems. (Household ed.) N. Y. Apple- 
ton, 1890. 
Ed. Family Library of Poetry and Song. 
N. Y. Fords. 

Burroughs, John Fresh Fields. Bost. Houghton, 1893. 

Wake-Robin. Bost. Houghton, 1893. 

Cable, George W^ Old Creole Days. N. Y. Scribner, 1892. 

Cambridge Book of Poetry and Song. C. F. Bates, comp. N. Y. 

Crowell. 

CARLiiTON, Wilt Farm Ballads. N. Y. Harper. 

Cartenter, George Rice . Ed. American Prose. N. Y. Macmillan, 

1898. 

Gary, Alice, and Gary, Phoere. Poetical Works. Bost. Houghton, 

1891. 

Catherwood, Mary Hartwell. Romance of Dollard. N. Y. Cen- 
tury Co. 



WORKING LIST OF REFERENCE BOOKS 
Churchill, Winston . 



Clemens, Samuel L. 



The Crisis. N. Y. Macmillan, 1901. 
Richard Carvel. N. Y. Macmillan, 1899. 

Adventures of Tom Sawyer. Hartford. 

Amer. Pub. Co. 
Huckleberry Finn. N. Y. Harper, 1900. 
Innocents Abroad. London. Ward. 

Cogswell, F. H The Regicides. N. Y. Baker, 1896. 

2 vols. N. Y. 



Cooke, John Esten . . . 
Cooper, James Fenimore 



Virginia Comedians. 
Appleton, 1883. 

The Deerslayer. N. Y. Appleton, 1889. 
Last of the Mohicans. N. Y. Appleton, 

1887. 
The Pathfinder. N. Y. Appleton, 1889. 
The Pilot. N. Y. Appleton, 1S92. 
The Pioneers. N. Y. Appleton, 1S88. 
The Prairie. N. Y. Appleton, 1890. 
The Spy. N. Y. Appleton, 1893. 

Craddock, Charles Egbert Pseud. See Murfree, Mary N. 



Crawford, Marion . . . 

Curtis, George William 
Davis, Richard Harding 

Deland, Margaret . . . 
Dickinson, Emily . . . 



Don Orsino. N. Y. Macmillan, 1892. 
Saracinesca. N. Y. Macmillan, 1892. 
Sant' Ilario. N. Y. Macmillan, 1899. 

Prue and I. N. Y. Harper. 

Gallegher and Other Stories. N. Y. Scrib- 

ner, 1893. 
Van Bibber and Others. N. Y. Harper, 

1892. 

Mr. Tommy Dove and Other Stories. N. Y. 
Houghton, 1893. 

Poems; ed. by M. L. Todd and T. W. 
Higginson. 3 vols. Bost. Roberts, 
1892-96. 



xvi WORKING LIST OF REFERENCE BOOKS 

Dix, BeulAh Marie . . ^ Hugh Gwyeth. N. Y. Macmillan, 1899. 
Making of Christopher Ferringhara. N. Y. 
Macmillan, 1901. 

DUYCKINCK, E. A., and Duyckinck, G. L. Comp. Cyclopsedia Amer- 
ican Literature. 2 vols. N. Y. Scrib- 
ner, 1856. 

Edwards, Jonathan . . . Works. 10 vols. N. Y. Carvill, 1830. 

Eggleston, Edward . , . Hoosier Schoolmaster. N. Y. Judd, 1892. 

Eggleston, George Cary . Ed. American War Ballads and Lyrics. 2 

vols. N. Y. Putnam, 1889. 

Emerson, Ralph Waldo . Conduct of Life. (Riverside ed. ) Bost. 

Houghton, 1884-85. 

English Traits. (Riverside ed. ) Bost. 
Houghton, 1884-85. 

Essays, ist series. (Riverside ed.) Bost. 
Houghton, 1884-85. 

Lectures and Biographical Studies. (River- 
side ed. ) Bost. Houghton, 1884-85. 

Nature Addresses and Lectures. (River- 
side ed.) Bost. Houghton, 1884-85. 

Poems. ( Household ed. ) Bost. Hough- 
ton, 1895. 

Ed. Parnassus. Bost. Houghton. 

Federalist Hamilton, Alexander, and others. Ed. by 

P. L. Ford. N. Y., 1898. 

Field, Eugene Little Book of Western Verse. N. Y. 

Scribner, 1895. 

Fiske, John Discovery of America. 2 vols. Bost. 

Houghton, 1892. 
Idea of God. Bost. Houghton, 1892. 

Foote, Mary IlAi.LOCK , . Cup of Trembling and Other Stories. Bost. 

Houghton, 1895. 



WORKING LIST OF REFERENCE BOOKS xvii 

Ford, Paul Leicester . . Honorable Peter Stirling. N. Y. Holt, 

1897. 
Janice Meredith. N. Y. Dodd, 1899. 
Ed. The Federalist, by Alexander Hamil- 
ton and others. N. Y., 1898. 

Franklin, Benjamin . . .Autobiography. (Riverside classics.) Bost. 

Houghton. 
Poor Richard's Almanac. (Riverside clas- 
sics. ) Bost. Houghton. 

French, Alice Stories of a Western Town. N. Y. Scrib- 

ner, 1893. 

Fuller, Henry B The Cliff Dwellers. N. Y. Harper, 1893. 

Garland, Hamlin .... Member of the Third House. N. Y. Ap- 

pleton, 1897. 
Wayside Courtships. N. Y. Appleton, 
1897. 

Gibson, William Hamilton. My Studio Neighbors. N. Y. Harper, 

1898. 
Sharp Eyes. N. Y. Harper, 1892. 

Gilder, Richard Watson . Five Books of Song. N. Y. Century Co., 

1894. 

Griswold, Rufus Wilmot . Comp. Poets and Poetry of America, (ed. 

16 enl.) Phil. Parry, 1855. 
Comp, Prose Writers of America, (ed. 4 
enl.) Phil. Parry, 1855. 

Hale, Edward Everett . Man Without a Country and Other Stories. 

Bost. Roberts, 1893. 

Hamilton, Alexander and others. The Federalist ; ed. by P. L. 

Ford. N. Y., 1898. 

Hardy, Arthur Passe Rose. Bost. Houghton. 

Harris, Joel Chandler . . Uncle Remus, N. Y. Appleton, 1899. 



xviii WORKING LIST OF REFERENCE BOOKS 

Harte, Francis Bret . . . Luck of Roaring Camp and Other Sketches. 

Bost. Houghton, 1898. 
Poems. (Household ed.) Bost. Houghton. 

Hawthorne, Nathaniel . Blithedale Romance. Bost. Houghton, 

1891. 

Grandfather's Chair. [St-c his Wonder 
Book.) Bost. Houghton, 1891. 

House of the Seven Galjles. Bost. Hough- 
ton, 1891. 

Marble Faun. Bost. Houghton, 1891. 

Mosses from an Old Manse. Bost. 
Houghton, 1 89 1. 

Scarlet Letter. Bost. Houghton, 1891. 

Septimius Felton. {^See his Dolliver Ro- 
mance.) Bost. Houghton, 1890. 

Snow Image. Bost. Houghton, 1891. 

Twice Told Tales. Bost. Houghton, 1 891. 

IIemans, Mrs. Felicia Dorothea. Complete Works ; ed. by her 

sister. 2 vols. N. Y. Appleton, 
1884. 

Holmes, Oliver Wendell. Autocrat of the Breakfast Table. Bost. 

Houghton. 

Elsie Venner. Bost. Houghton. 

Poems. (Household ed.) Bost. Hough- 
ton, 1899. 

Poet at the Breakfast Table. Bost. Hough- 
ton. 

Poetical W^orks. 3 vols. Bost. Houghton, 
1891. 

Professor at the Breakfast Table. Bost. 
Houghton. 

HowELLS, William Dean . Criticism and Fiction. N. Y. Harper, 

1893. 
Hazard of New Fortunes. 2 vols. N. Y. 
Harper. 



WORKING LIST OF REFERENCE BOOKS 



HowELLS, William Dean . Lady of the Aroostook. Bost. Houghton. 
Modern Instance. Bost. Houghton, 1891. 
Rise of Silas Lapham. Bost. Houghton. 
Their Silver Wedding Journey. 2 vols. 

N. Y. Harper, 1899. 
Their Wedding Journey. Bost. Houghton, 
1892. 



Irving, Washington 



Alhambra. N. Y. Putnam, 1S69. 
Bracebridge Hall. N. Y. Putnam, 1869. 
Granada. N. Y. Putnam, 1S69. 
History of New York. N. Y. Putnam, 



Jackson, Helen Hunt 



Life of Goldsmith. 2 vols. N. Y. Put- 
nam, 1869. 

Life of Washington. 5 vols. N. Y. Put- 
nam, 1869. 

Sketch Book. Phil. Lippincott, 1870. 

Poems. Bost. Roberts, 1892. 



James, Henry Daisy Miller. N. Y. Harper, 1892. 

Portrait of a Lady. Bost. Houghton, 1891. 
Princess Casamassima. Lond. M'^cmillan, 

1886. 
Roderick Hudson. Bost. Houghton, 1S92. 



Jewett, Sarah Ornk 



A White Heron and Other Stories. Bost. 
Houghton, 1892. 



Johnston, Mary Audrey. Bost. Ploughton, 1902. 

To Have and to Hold. Bost. Houghton, 
1900. 

JUDD, Sylvester ..... Margaret. Bost. Roberts, 1S70. 

Kennedy, John P Horse-Shoe Robinson. 2 vols. Phil. 

Carey, 1836. 

Knowles, Frederic Lawrence. Comp. Golden Treasury of American 

Songs and Lyrics. Bost. Page, 1898. 



XX WORKING LIST OF REFERENCE BOOKS 

Lanier, Sidney Poems ; ed. by his wife. N. Y. Scribner, 

1892. 

Learned, Walter .... Comp. Treasury of American Verse. N. Y. 

Stokes. 
Comp. Treasury of Favorite Poems. N. Y. 
Stokes, 1 89 1. 

Library of American Literature, ii vols. E. C. Stedman and 

E. M. Hutchinson, comp. N. Y. 
Webster, 1891. 

Lir.RARV OF THE WORLD'S Best LITERATURE. (Ed. dc Luxe.) 45 

vols, C. D. Warner and others, eds. 
N. Y. International Society, 1896-97. 

Longfellow, Henry Wadswortii. Poems. (Household ed.) Bost. 

Houghton. 

Lowell, James Russell . . IJterary Essays. 5 vols. Bost. Houghton. 
Poems. (Household ed.) Bost. Hough- 
ton, 1899. 

Marie, Hamilton Essays in Literary Interpretation. N. Y. 

Dodd, 1892. 

Mc Master, John Bach . . History of the People of the United States. 

Vols. 1-5. N. Y. Appleton, 1900. 

Manly, Louise Southern Literature, 1579-1895. Rich- 
mond. Johnson Pub. Co., 1895. 

Marvel, Ik Pseud. See Mitchell, Donald G. 

Mather, Cotton Magnalia Christi Americana; or The Eccle- 
siastical History of New England, 
1620-1698. Hartford. Andrus, 1853- 
55- 

Matthews, BrANDER . . . Introduction to the Study of American Lit- 
erature. N. Y. American Bk. Co., 
189&. 
Outlines in Local Color. N. Y. Harper, 
1898. 



WORKING LIST OF REFERENCE BOOKS 



Miller, Mrs. Harriet 



Mitchell, Donald G. 



Mitchell, S. Weir . . 



Morris, Charles 



Motley, John Lothrop 



Murfree, Mary N. 



Page, Thomas Nelson 
Parkman, Francis . . 



Parnassus .... 
PoE, Edgar Allan 



Prescott, William H. 
Rhodes, James F. 



. Little Brothers of the Air. Bost. Hough- 
ton, 1892. 

. Reveries of a Bachelor. N. Y. Scribner, 
1892. 

. Hugh Wynne. 2 vols. N. Y. Century 
Co., 1897. 



Riley, James Whitcomb . 
Sewall, Samuel .... 



Sill, Edward Rowland 
SIMMS, William Gilmore 



-. Comp. Half Hours with the Best American 
Authors. Phil. Lippincott, 1896. 

. Rise of the Dutch Republic. 3 vols. 
N. Y. Harper. 

. In the Tennessee Mountains. Bost. 
Houghton, 189 1. 

. Marse Chan. N. Y. vScribner, 1892. 

. Conspiracy of Pontiac. 2 vols. Bost. Lit- 
tle, 1891. 

. R. W. Emerson, ed. Bost. Houghton. 

. Murders in the Rue Morgue and Other 
Tales. Phil. Coates. 
Works. 6 vols. N. Y. Armstrong. 
(Another edition. 10 vols. Chic. Stone, 
1895. Ed. by Stedman-Woodberry. ) 

. Conquest of Mexico. 3 vols. Bost. Phil- 
lips, 1858-59. 

. History of the United States. 3 vols. 
N. Y. Harper. 1893-95. 

. Afterwhiles. Indianapolis. Bowen, 1894. 

. Diary (1674-1729). In Coll. Mass. Hist. 
Soc, Series 5, Vols. V-VII. 

. Poems. Bost. Houghton, 1898. 

. The Yemasse. 2 vols. N. Y., 1835. 



xxii WORKING LIST OF REFERENCE BOOKS 

Smith, John Generall Historic of Virginia, New England, 

and the Summer Isles. Lond. , 1624. 
True Relation of Such Occurrences and 
Accidents of Noate as Hath Ilapned in 
Virginia since the First Planting of that 
CoUony. Lond., 1 608. 

Songs of Three Centuries J. G. Whittier, comp. Bost. Houghton. 

Stedman, Edmund Clarence. Ed. American Anthology, 1 787-1899. 

Bost. Houghton, 1900. 
Poems. (Household ed.) Bost. Houghton. 
Poets of America. Bost. Houghton, 1892. 
Victorian Poets. Bost. Houghton, 1891. 

Stedman, Edmund Clarence, and Hutchinson, E. M. Comp. Lib- 
rary of American Literature. 1 1 vols. 
N. Y. Webster, 1891. 

Stimson, F. J King Noanett. Bost. Lamson, 1896. 

Stockton, Frank Amos Kilbright and Other Stones. N. Y. 

Scribner, 1891. 

Stowe, Harriet Beecher . Uncle Tom's Cabin. Bost. Houghton, 

1889. 

Stuart, Ruth McEnery . Golden Wedding and Other Tales. N. Y. 

Harper, 1893. 

Taylor, Bayard Poems. (Household ed.) Bost. Hough- 
ton. 

Teuffel, Blanche Willis Howard-. Guenn. Bost. Houghton, 1898. 

Thanet, Octave Pseud. See French, Alice. 

Tiiaxter, Celia Poems. Bost. Houghton, 1896. 

Thompson, Ernest Seton- . Wild Animals I Have Known. N. Y. 

Scribner, 1899. 

Thoreau, Henry David . Excursions. Bost. Houghton, 1892. 
Summer, Bost. Houghton, 1892. 
Walden, Bost. Houghton. 



WORKING LIST OF REFERENCE BOOKS xxiii 

Thoreau, Henry David . Week on the Concord and Merrimac 

Rivers. Bost. Houghton, 1892. 

Winter. Bost. Houghton, 1891. 

TORREY, Bradford .... Foot-path Way. Bost. Houghton, 1892. 

Trumbui,],, John Poetical Works. 2 vols. Hartford. Good- 
rich, 1822. 
Twain, Mark Pseud. See Clemens, Samuel L. 

Wallace, Lew Ben Hur. N. Y. Harper. 

Ward, Elizabeth Stuart Phelps- Jack the Fisherman. Bost. 
Houghton, 1887. 

Warner, Charles Dudley Golden House. N. Y. Harper, 1895. 
In the Wilderness. N. Y. Harper. 
Little Journey in the World. N. Y. Har- 
per, 1891. 

Warner, Charles Dudley, and others. Eds. Library of the World's 

Best Literature. (Ed. deLuxe.) 45 
vols. N. Y. International Society, 
1896-97. 

Whu'I'le, Edwin P Essays and Reviews. 2 vols. Bost. 

Houghton, 1891. 
Literature of the Age of Elizabeth. Bost. 
Houghton, 189 1. 

Whitman, Walt Selected Poems. N. Y. Webster, 1892. 

Whittier, John Greenleaf Poems. (Household ed.) Bost. Houghton. 
Comp. Songs of Three Centuries. Bost. 
Houghton. 

WiLKiNS, Mary E Humble Romance and Other Stories. N. Y. 

Harper. 

Winthrop, Theodore . . John Brent. N. Y. Holt, 1876. 

Woolman, John Journal ; with introd. by J. G. Whittier. 

Bo^t. Osgood, 1871. 




be tbeor^ ot boofts is noble. Zbc 
scbolar ot tbe first age receivet) 
into bim tbe wotlD atoun&; broo&e& 
tbereon; gave it tbe new arrangement 
of bis own mint), anD uttereD it again. 
1[t came into bim life; it went out of bim 
trutb. Ht came to bim sbort*li\>eD 
actions; it went out from bim immor* 
tal tbougbt. Ht came to bim business; 
it went from bim poetrp. Ut was &ea5 
fact; now it is quick tbougbt. lit can 
stant), an& it can go. lit now en&ures, 
it now fiies, it now inspires, precisely 
in proportion to tbe &eptb of min& 
from wbicb it issue&, so bigb t)oes it 
soar, so long t>oc5 it sing. 

(;6mcrson: Cbe Bmctican Scbolar.) 



(xxv) 



CHAPTER I 



Early 

Colonial 

Period 



Later 

Colonial 

Period 



Colonial period (tSOZ^tieS) 

Syllabus A 

Captain John Smith (1579-1631) 

A True Relation of Virginia : 

Adventure on the Chickahominy, Stedman-Hutch- 
inson, Vol. i, p. 3. 

General History of Virginia : 

Romance of Pocahontas, Stedman-Hutchinson, 
VoL I, p. 10. 

William Bradford (1590-1657) 

History of Plymouth Plantation : 
The Pilgrims, Carpenter, p. 451. 

Anne Bradstreet (1612-1672) 

The Tenth Muse Lately Sprung up in America: 
Duyckinck, Vol. i, p. 51 ; Stedman-Hutchinson, 
Vol. I, p. 311. 

Bay State Psalm Book 

Stedman-Hutchinson, Vol. I, p. 211. 

Samuel Sewall (1652-1730) 

Some few lines toward a Description of New Heaven 
as it makes to those who stand upon the New Earth, 
Carpenter, p. 457. 

" The Mather Dynasty " 

' ' Under this stone lies Richard Mather 
Who had a son greater than his father 
Had eke a son greater than either." 

Old Epitaph. 



COLONIAL PERIOD 



Later 

Colonial 

Period 



General 
Reading 



Cotton Mather (1663-1728) 
Magnalia : 

The Phantom Ship, Carpenter, p. 6. 
Wonders of the Invisible World : 

How Martha Carrier Was Tried, Stedman-Hutch- 
inson, Vol. 2, p. 125. 

Jonathan Edwards (1703-1758) 

Natural Men Are God's Enemies, Carpenter, p. 21. 
Nature and Holiness, Carpenter, p. 16 ; Stedman- 

Hutchinson, Vol. 2, p. 373. 
Sarah Pierrepont, Carpenter, p. 18; Stedman-Hutch- 

inson, Vol. 2, p. 381 ; Warner's Lib., Vol. 13, p. 

S182. 

Landing of the Pilgrims Mrs. Hemans. 

Courtship of Miles Standish . . . Longfellow. 

John Eliot's Bible Hawthorne's Grand- 
father' s Chair, 
Part I., ch. 8. 

King Noanett J. S. Stimson. 

Standish of Standish ..... June Austin. 

Governor Endicott and the Red 

Cross Hawthorne's Twice 

Told Tales. 

To Have and To Hold Mary Johnston. 

The Making of Christopher Fer- 

ringham Beulah Marie Dix. 



COLONIAL PERIOD 3 

<@ttttetiond on tfi« <8:oIoniaI ^«i;iod 

1 . Although American literature must hold in common with 

English literature language, moral and religious ideals 
embodied in the English Bible, and the legal and 
political ideals grouped around Common Law, why 
should it be considered an independent and distinct 
literature ? 

2. What great men were writing in England when settle- 

ments in North America began ? 

3. How did the resolute English temper show itself in both 

Cavalier and Puritan ? 

4. (a) How account for the fact that the South gave such 

leaders to the Revolution? (b) Who were these 
leaders ? 

5. Account for the outranking average intelligence and 

morality of the North. 

6. Explain the primness and credulity that crept in. 

7. Why do we find no early American poet or story-teller? 

8. (a) What is the pioneer American book ? (b) What is 

there graphic in it ? (c) What is the source of the 
Pocahontas story ? 

9. How may William Strachey's account of his shipwreck 

on the way to the Virginia colony have suggested to 

Shakespeare certain passages in ' ' The Tempest ' ' ? 
[o. (a) How was the aristocratic character of the South 

shown in the life ? (b) Why did the Church suffer ? 

(c) Why did education fare ill ? 
[ I . How do you account for so little later colonial literature 

in the South ? 
[2. What modern novels give pictures of the Jamestown 

colony ? 



4 COLONIAL PERIOD 

13. Where may we go for a picture of the hardships of New- 

England life ? 

14. Bring out a few characteristics of the primitive New 

England town life. 

15. (a) Who were the two chronicle-historians of the infant 

colonies ? (b) What precious pages were lost for two 
hundred years and how returned to Massachusetts? 
(c) What other document has not been published in 
its entirety till this century ? 

16. (a) What was the power of the New England parson? 

(b) What is meant by O. W. Holmes's phrase, " the 
Brahmin caste of New England ' ' ? 

17. Who was the " Apostle of the Indians " and what work 

did he do ? 

18. (a) What was the first book printed in America? 

(b) What is its literary value ? 

19. (a) Who was the "pioneer blue-stocking" ? (b) Who 

was her most famous literary descendant ? (c) What 
in her poetic subjects suggests that her Pegasus is 
always inspired by the number four ? (d) What local 
color in her work ? (e) How did her contemporaries 
receive her? 

20. What melodies gathered together in these early days were 

better remembered by time than the Tenth Muse ? 

21. What story of Hawthorne's shows the severe, hard side 

of the Puritan character ? 

22. How is the piety of Judge Samuel Sewall expressed in 

his quaint description of the New Heaven ? 

23. Quote the epitaph which describes the Mather dynasty. 

24. What tragedy that eventually broke the power of the 

clergy, did the writings of the most famous member 
deal with ? 



COLONIAL PERIOD 5 

25. How did Judge Sewall show publicly his remorse for his 

part in this tragedy ? 

26. What printed protest by Robert Calef against this super- 

stition was officially burned by Cotton Mather ? 

27. (a) In what work did Cotton Mather try to uphold the 

political power of the clergy ? (b) What curious 
registry of the fervent Puritan belief in direct answer 
to prayer does it give? (c) What in the fantastic, 
rhythmical style of its prose suggests the seventeenth 
century prose of Fuller and Sir Thomas Browne ? 

28. (a) Who was the minister that, separating politics from 

religion, first in his writings struck the note of the ideal? 
(b) What poetic spirit is shown in his work ? (c) Why 
is he called the " Dante of the pulpit " ? (d) What 
is the name of his great work that shows him a master 
of subtle logic ? (e) What idealistic quality do all 
his writings show ? 

29. What name in this period deserves to stand for actual 

achievement in literature ? 

30. What names stand only for historical interest ? 

31. What is the one quality in literature that America 

developed in this period that will be embodied later 
by Channing and Emerson ? 



CHAPTER II 



The New 
Type 



The 
Orators 



The 
Statesmen 



Bevolntionarg period (tzeS^taOO) 

Syllabus A 

Benjamin Franklin (i 706-1 790) 
Poor Richard's Almanac: 

Father Abraham's Speech, Carpenter, p. 36 ; Mat- 
thews, p. 26; Warner's Lib., Vol. 15, p. 
5946. 
Letters : 

The Whistle, Duyckinck, Vol. I, p. Ill ; Stedman- 

Hutchhison, Vol. 3, p. 27. 
Dialogue between Franklin and the Gout, Duy- 
ckinck, Vol. I, p. 112; Stedman-Hutchinson, 
Vol. 3, p. 29. 
Autobiography : 

Entrance into Philadelphia, Carpenter, p. 31 ; 
Stedman-Hutchinson, Vol. 3, p. 6 ; Warner's 
Lib., Vol. IS, p. 5941. 

Josiah Quincy (1744- 17 75) 

An Interview with Lord North, Stedman-Hutchinson, 
Vol. 3, p. 290. 

Patrick Henry (i 736-1 799) 

The Alternative, Stedman-Hutchinson, Vol. 3, p. 214 ; 
Warner's Lib., Vol. 18, p. 7242. 

George Washington (i 732-1 799) 

On His Appointment as Commander-in-Chief, Stedman- 
Hutchinson, Vol. 3, p. 146. 
A Military Dinner Party, Stedman-Hutchinson, Vol. 3, 
p. 152. 

(6) 



REVOLUTIONARY PERIOD 



The 
Statesmen 



Early 
Poetry 



Novelist 



Familiar 
Letters 



Alexander Hamilton (1757-1804) 

Essays in " The Federalist," ed. by Paul L. Ford. 

Ballads of the Revolution 

Yankee Doodle, Duyckinck, Vol. I, p. 463 ; Stedman- 

Hutchinson, Vol. 3, p. 338. 
The Dance, G. C. Eggleston, Vol. i, p. 94 ; Stedman- 

Hutchinson, Vol. 3, p. 356. 
Nathan Hale, G. C. Eggleston, Vol. i, p. 43 ; Sted- 

man-Hutchinson, Vol. 3, p. 347. 

John Trumbull (1750-1831) 

McFingal's Dole, Stedman-Hutchinson, Vol. 3, p. 406. 
Character of McFingal, Griswold's Poets, p. 45. 

Philip Freneau (1752-1832) 

The Indian Burying-ground, Griswold's Poets, p. 35 ; 
Stedman's Anth., p. 4 ; Stedman-Hutchinson, Vol. 
3, P- 452. 

The Wild Honeysuckle, Griswold's Poets, p. 36 ; 
Knowles, p. i ; Stedman's Anth., p. 4; Stedman- 
Hutchinson, Vol. 3, p. 453. 

Charles Brockden Brown (1771-1810) 
Arthur Mervyn : 

Yellow Fever in Philadelphia, Carpenter, p. 97 ; 
Griswold's Prose, p. 114. 
Edgar Huntly : 

Adventure with a Gray Cougar, Carpenter, p. 89. 

John Woolman (1720-1772) 
Journal : 

An Angelic Dispensation, Stedman-Hutchinson, 

Vol. 3, p. 82. 
An Early Case of Conscience, Duyckinck, Vol. I 
p. 146. 



8 REVOLUTIONARY PERIOD 

General Hugh Wynne S. Weir Mitchell. 

Reading -^^^ ^f Orange Ribbon .... Amelia E. Barr. 

Septimius Felton Nathaniel Hawthorne. 

The Spy James Fenimore Cooper. 

Janice Meredith Paul Leicester Ford. 

Richard Carvel . Winston Churchill. 

The Regicides F. H. Cogswell. 



REVOLUTIONARY PERIOD 9 

<j^ue$tione on tfiit i^coolotionavg period 

1. Contrast the theme of Colonial thought with that of 

Revolutionary thought. 

2. How may the change be accounted for ? 

3. Into what three groups do the thirteen colonies naturally 

fall? 

4. (a) Which was rich in life — the raw material for litera- 

ture? (b) Which was cosmopolitan and tolerant? 
(c) Which emphasized education ? 

5. (a) What man is typical of the new American era? (b) 

Why may he be called the * ' Abou Ben Adhem ' ' of 
his time ? (c) How does he stand as the first illustra- 
tion of America's peculiar pride — a self-made man? 

6. (a) What books influenced him as a boy ? (b) What was 

his method of acquiring a good style of writing Eng- 
lish ? (c) How did he train the American character to 
frugality and industry? (d) Give some maxims of 
his worldly-wise philosophy. 

7. (a) What book reveals his own personality? (b) In 

what does its perennial charm lie? (c) What was 
the lesson in "Father Abraham's Speech"? (d) 
What was the point in '' The Whistle " ? (e) What 
instances of American humor in Franklin's " Dia- 
logue " ? (f ) How is his style a model in clearness and 
simplicity ? 

8. (a) What Philadelphians were associated with him in 

scientific pursuits ? (b) How was it that Philadelphia 
was the metropolis of the new nation ? 

9. (a) What facts show Franklin's political prominence? 

(b) What was his creed as stated by himself? 



lo REVOLUTIONARY PERIOD 

10. How are Jonathan Edwards and Benjamin Franklin 

contrasted as world-redeeming forces ? 

11. How did the Puritan merge himself into the Patriot ? 

12. (a) Who were three of the New England orators? (b) 

What tradition of their eloquence has come down to us? 
(c) Which one met with a cowardly assault that 
injured his brain ? 

13. Upon what Southerner does the palm of Revolutionary 

oratory fall, and in what speech ? 

14. What two great documents of Thomas Jefferson and 

George Washington ought to be familiar to every 
American ? 

15. (a) What was the "one literary monument of impres- 

sive scholarship reared by the age of statesmanship ' ' ? 
(b) What is its argument ? (c) How is its style a 
model in clearness, combined with the dignity appro- 
priate to a state paper? (d) Who was the great 
Federalist ? 

16. (a) Who was the great Democrat? (b) How did his 

love for letters find expression ? 

17. (a) Who were the ' ' Hartford Wits ' ' ? (b) In what satire 

did Trumbull express his patriotism ? (c) What pic- 
tures in it are of great value historically ? (d) Upon 
what English satire against the Puritans is it modeled ? 
(e) What was its popularity ? 

18. What popular ballad of this time is still a popular 

national song? 

19. The movements of what general's army are satirized in 

"The Dance"? 

20. What ballad celebrates the sad fate of a young patriot ? 

21. In what lyrics did Freneau strike a new note from any 

before sounded in America? 



REVOLUTIONARY PERIOD il 

2 2. Which one in its subject foreshadows Bryant? 

23. How is the English appreciation of Freneau's poetic 

spirit registered by both Campbell's and Scott's using 
a line from him in their work ? 

24. Who was the first American writer to devote himself to 

literature as a profession ? 

25. How do his romances show that he was an imitator of 

the "Nightmare School" then so fashionable in 
England ? 

26. Yet how is his difference from this school — the sense of 

real, not manufactured horror — brought out in the 
description of the plague in Philadelphia ? 

27. In the " Adventure with a Cougar," what purely natural 

causes develop the terror of the situation ? 

28. In the choice of this last subject how does he forecast 

Cooper ? 

29. In his use of a vividly real background to set a scene, 

and in his love of the mysterious, how is Poe fore- 
shadowed ? 

30. How does Brown's power to depict only single episodes 

suggest that if he had turned to the short story he 
might have been a master in that form ? 

31. (a) What Quaker's journal was cherished by Charles 

Lamb ? (b) Why may it be called the ' ' Autobiog- 
raphy of the Soul ' ' ? 

32. How does his record of a vision show why he felt him- 

self bound to oppose slavery ? 

33. What early case of conscience registers his fine spiritu- 

ality ? 

34. How does this expression of religion in the Middle 

Colonies differ from that of New England? 



12 REVOLUTIONARY PERIOD 

35. What marked contrast does the spirit of Franklin's 

"Autobiography" bear to the spirituality of Wool- 
man's "Journal " ? 

36. During the Colonial Period, what colonies seem to be 

the centre of intellectual life ? 

37. What novel gives a spirited description of the Battle of 

Lexington ? 

38. Which novel is a picture of old Dutch New York? 

39. Which novel gives a strong picture of Major Andre and 

the Free Quakers of Philadelphia ? 

40. Which one contains a description of Paul Jones and a 

famous sea-fight ? 



CHAPTER III 



Poet of 
Nature in 
the New 
World 



Syllabus A 
William Cullen Bryant (1794-1878) 



On Life 
and Death 



On Nature 



Fairy 
Tales 

Personal 



The 

Pioneer of 
Culture 
and Taste 



Thanatopsis, Poems, p. 21 ; Stedman's Anth., 

P- 53- 

The Flood of Years, Poems, p. 344; Stedman's 
Anth., p. 67. 

A Forest Hymn, Poems, p. 79; Stedman's 
Anth., p. 55. 

To the Fringed Gentian, Poems, p. 128; Sted- 
man's Anth., p. 59. 

The Yellow Violet, Poems, p. 23. 

Sella, Poems, p. 268. 

The Little People of the Snow, Poems, p. 297. 

To a Waterfowl, Poems, p. 26; , Stedman's 
Anth., p. 54. 

O Fairest of the Rural Maids, Poems, p. 82; 
Stedman's Anth., p. 54. 

The Death of the Flowers, Poems, p. 92; Sted- 
man's Anth., p. 57- 

Henry Wadsworth Longfellow (1807-1882) 

A Psalm of Life, Poems, p. 2; Stedman's 
Lyrics "^ 

Anth., p. 112. 

My Lost Youth, Poems, p. 219; Stedman's 

Anth., p. 121. 

Resignation, Poems, p. 129. 

The Bridge, Poems, p. 85. 

("3) 



14 



MAJOR NEW ENGLAND POETS 



The 


Sea 


Pioneer 


Ballads 


of Culture 




and Taste 






Inspired 




by Foreign 




Life 




Built from 




" Foreign 




Timber" 




Colonial 




Tales 



The Pa- 
triotand 
Scholar 
Poet 



The 

American- 
Indian Idyl 



Occasional 
Personal 



James 
Narrative 
Humorous 



The Skeleton in Armor, Poems, p. 25; Sted- 

man's Antli., p. 112. 
The Wreck of the Hesperus, Poems, p. 27. 

The Belfry of Bruges, Poems, p. 77. 
Amalfi, Poems, p. 361. 

Evangeline, Poems, p. 95; Stedman's Anth., 

p. 116. 
King Robert of Sicily, Poems, p. 243. 
The Courtship of Miles Standish, Poems, p. 

191. 
Paul Revere' s Ride, Poems, p. 235. 
Lady Wentworth, Poems, p. 283. 

Hiawatha : Poems, p. 141. 

His Childhood, Canto HI.; His Sailing, 

Canto VH.; His Wooing, Canto X.; 

The Famine, Canto XX. ; His Departure, 

Canto XXn. 
Morituri Salutamus, Poems, p. 354. 
Hawthorne, Poems, p. 319. 
Bayard Taylor, Poems, p. 394. 

Russell Lowell (1819-1891) 

Vision of Sir Launfal, Poems, p. 107. 
Fable for Critics : 

Portraits of Bryant, Poems, p. 133; Haw- 
thorne, Poems, p. 136; Irving, Poems, 
p. 144. 
The Biglow Papers : 

The Courtin', Poems, p. 233; Stedman's 

Anth., p. 207. 
Spring in New England, Poems, p. 275. 
Harvard Commemoration Ode, Poems, p. 398; 

Stedman's Anth., p. 209. 
The Present Crisis, Poems, p. 67. 



MAJOR NEW ENGLAND POETS 



15 



The Pa- Religious 
triot and Lyrics 
Scholar 
Poet 



Personal 



The 

Mingler of 
Jest with 
Sentiment . 



Extreme Unction, Poems, p. 76 
Longing, Poems, p. 92 

Li the Twilight, Poems, p 389; Stedman's Anth., 
p. 217. 

The First Snow-fall, Poems, p. 350; Stedman's 

Anth., p. 215. 
The Dead House, Poems, p 367. 
After the Burial, Poems, p. 367; Stedman's 

Anth., p. 216. 



Oliver Wendell Holmes (1809-1894) 

riotic Old Ironsides, Poems, p. i ; Stedman's Anth., 

P- 153 
Grandmother's Story of Bunker Hill Battle* 
Poems, p. 300. 

ious The Chambered Nautilus, Poems, p. 161; Sted- 

man's Anth., p. 158. 

The Voiceless, Poems, p. 141 ; Stedman's Anth., 
p. 157. 

Under the Violets, Poems, p. 177; Stedman's 
Anth., p. 159. 

norous The One-Hoss Shay, Poems, p. 172. 

How the Old Horse Won the Bet, Poems, p. 309. 
The Broomstick Train, Vol. 3, p. 191. 

Bill and Joe, Poems, p. 207; Stedman's Anth., 

p. 158. 
The Last Leaf, Poems, p. i; Stedman's Anth., 

P- 154- 
Dorothy Q., Poems, p. 243; Stedman's Anth., 
p. 160. 

Agnes, Poems, p. 89. 

The Boys, Poems, p. 213. 

A Farewell to Agassiz, Poems, p. 294. 

The Iron Gate, Poems, p. 321. 



Humorous 

and 

Pathetic 



Narrative 
Occasional 



i6 



MAJOR NEW ENGLAND POETS 



The Heart 
of New 
England 



Colonial 
Tales 



John Greenleaf Whittier (1807-1892) 

Skipper Ireson's Ride, Poems, p. 225; Stedman's 

Anth., p. 133. 
Marguerite, Poems, p. 376. 
Cassandra Southwick. Poems, p. 28. 
Barbara Frietchie, Poems, p. 269. 
Maud Muller, Poems, p. 204; Stedman's Anth., 
p. 131. 

Ichabod, Poems, p. 146 ; Stedman's Anth., p. 129. 



Love of 
Freedom 



Narrative 



Political 
Lyric 

Lyrics 



New 

England 

Idyl 



In School-Days, Poems, p. 350; Stedman's Anth., 

P- 139- 
A Sea Dream, Poems, p. 388. 
TeUing the Bees, Poems, p. 226. 

Snow-Bound, Poems, p. 286; Extracts in Stedman's 
Anth., p. 137. 



Religious The Eternal Goodness, Poems, p. 318; Stedman's 
Anth., p. 135. 
My Triumph, Poems, p. 351. 
The 
Poet of 
Optimistic Ralph Waldo Emerson (1803-1882) 

Philo- Patriotic Concord Hymn, Poems, p. 139; Stedman's Anth., 
sophy -^ ' > f oy> > 

p. 100. 

Lyrics Thine Eyes Still Shined, Poems, p. 88. 

Give All to Love, Poems, p. 84. 

Good-Bye, Poems, p. 37. 

Threnody, Poems, p. 130. 

The Rhodora, Poems, p. 39; Stedman's Anth., 

p. 92. 
The Humble-Bee, Poems, p. 39; Stedman's Anth., 

p. 92. 



Personal 



Nature 



Philo- 
sophic 
Thought 



Forbearance, Poems, p. 78; Stedman's Anth., 

p. 94. 
Each and All, Poems, p. 14; Stedman's Anth., 

p. 90. 



MAJOR NEW ENGLAND POETS 



17 



The 

Poet of 

Optimistic 

Philo- 

soptiy Quatrains 



The Problem, Poems, p. 15; Stedman's Anth.-, 

p. 91. 
Hamatreya, Poems, p. 35. 

" I framed his tongue to music," Poems, p. 274- 
"Teach me your mood, O patient stars," Poems, 
p. 277. 



General Margaret . Sylvester Judd. 

Reading Uncle Tom's Cabin Harriet Beecher Stowe. 

The Crisis Winston Churchill. 



i8 MAJOR NEW ENGLAND POETS 

C^ttesfione on tlt«s H^nittv 31etti SEitslatti Poets 

1. (a) Why were the artists of the Colonial Period portrait 

painters? (b) Why were the Revolutionary artists 
painters of battle scenes? (c) Why did the "land- 
scape school" of painters appear early in the nine- 
teenth century ? 

2. Why may William Cullen Bryant be said to lead the 

literary counterpart of this school ? 

3. What poem was published in his seventeenth year, and 

what does the title mean ? 

(a) What lines in it suggest an Anglo-Saxon picturing 
of the grave ? 

(b) What solemn decorations for man's tomb illustrate 
Bryant's characteristic of presenting large aspects 
of nature? 

(c) How is the vastness of time and space brought 
out? 

(d) How does the spirit of the poem suggest both the 
Puritan and the Roman ? 

(e) Why is blank verse eminently fitted to clothe the 
thought ? 

(f )What fine management of the c?esura does Bryant 

show ? 
(g) How does the "Flood of Years" prove that at 

eighty his style was unchanged ? 

4. (a) How is the sense of loneliness brought out in " To a 

Waterfowl " ? (b) What "uplifted flight " of spirit 
as well as of bird is suggested ? 

5. (a) With what poems did New England scenery come 

into literature ? (b) What season did he like best to 



MAJOR NEW ENGLAND POETS 19 

paint? (c) What New England wild flowers does he 
sing of, and in each poem what suggestion does the 
flower bring to him ? 

6. (a) What poem resembles Wordsworth's "Three Years 

She Grew in Sun and Shower"? (b) In both how 
is the beauty of the maiden brought out ? 

7. (a) What pictures of nature in his two fairy tales seem 

to illustrate Bryant's more delicate fancy and work- 
manship ? (b) Yet how does the subject in each case 
illustrate his love for the elements ? 

8. Though preeminently a nature poet, yet what quality 

did his verse lack which Shelley and Wordsworth had 
in nature lyrics ? 

9. Name the characteristics of his style. 

10. How did the early life and duties of Henry Wadsworth 

Longfellow seem to develop a literary bent ? 

11. (a) With what volume did he gain a foothold as an 

American poet? (b) What was the quality of the 
lyrics that caught the popular ear? (c) What lyric, 
written in middle life, gives a romantic picturing of 
his birthplace ? 

12. (a) What vigorous ballad ofthe Viking's life shows Long- 

fellow's power of imaginative treatment? (b) In 
what other sea lyric were the ballad requisites of 
rapidity, conciseness, and story-telling povv^er, well 
shown ? 

13. What instances of poetic quality with emotion are found 

in ' ' Hawthorne ' ' and ' ' Bayard Taylor ' ' ? 

14. (a) With what two poems, American in subject, did 

Longfellow succeed in familiarizing a foreign metre, — 
the Latin hexameter? (b) Why his success? (c) 



20 MAJOR NEW ENGLAND POETS 

What pictures of interiors are drawn with artistic 
grace ? 

15. (a) His most original addition to literature is what 

poem ? (b) What unknown foreign metre did he 
use for it ? What similarity of treatment to Tennyson's 
treatment of the " Idylls of the King ' ' ? 

16. From what English or Italian poem does he borrow his 

scheme for ' ' The Tales of a Wayside Inn ' ' ? How 
further do the ' * Tales ' ' illustrate his use of foreign 
timber ? 

17. How does the title of the poem read at the fiftieth class 

anniversary illustrate his imagination kindled by the 
world of books ? 

18. (a) How does his range of subjects show his cosmopolitan 

quality? (b) How does his popularity illustrate his 
power of extending culture ? (c) How does his verse 
promote a taste for higher ideals in form ? (d) Why 
did American literature in the early part of the nine- 
teenth century especially need his contributions ? (e) 
How did he make American history romantic ? 

19. In what respects were Lowell's surroundings and duties 

like Longfellow's? 

20. (a) What was the poem he produced that showed his 

ethical bent, and which was at first attributed to 
Whittier? (b) What made the long, leaping metre 
so effective ? 

2 1 . (a) How does ' ' The Vision of Sir Launfal ' ' show his 

absolute spontaneous joyful sympathy with nature? 
(b) What two famous contrasted landscape pictures 
are its features? (c) How is the medireval setting 
of the poem carried out artistically ? (d) How is its 
sentiment representative of Lowell? 



MAJOR NEW ENGLAND POETS 21 

22. (a) Of what homely, ungainly material is Lowell's most 

original and individual work constructed ? (b) What 
did it voice ? (c) What two original character crea- 
tions does it contain ? (d) What extract in it contains 
in dialect just such a spontaneous description of nature 
as that given in ' ' The Vision of Sir Launfal ' ' ? 
(e) What bucolic idyl is without a counterpart? 

23. (a) Where did Lowell pass laughingly keen judgments 

on his contemporaries — ^judgments almost verified by 
time? (b) What is the keynote of his estimate of 
Bryant? (c) Of himself? 

24. With what lyrics has he learned from personal sorrow to 

read the hearts of others ? 

25. (a) Which lyric hints at preexistence, and clothes 

subtlety of thought in exquisite fantasy ? (b) How 
does he hint at the secret of the violin's tone ? 

26. In what poem, and under what imagery, does he portray 

a wasted life — a poem which W. T. Stead said 
changed his life ? 

27. What poem proves that a great poet is best at his greatest 

theme ? 

(a) What musical intonation of tender thoughts in 
stanza IIL? (b) How does stanza VL paint the 
portrait of " the first American " ? (c) In stanza 
VIII. how does his salutation of the ''sacred 
dead " rise to a seer's vision? (d) With what 
trumpet -blast does he close the poem ? 

28. (a) Show how the thought and moral purpose is always 

Lowell's prominent characteristic, (b) How has he 
shov/n that the highest culture may at times be most 
spontaneous and least bookish in expression? (c) 



22 MAJOR NEW ENGLAND POETS 

What three pieces has he given us that in their 
departments outrank any other American production, 
and rank with the best of their kind in English 
literature ? 

29. What privileges of birth and residence did Oliver 

Wendell Holmes enjoy, and how did his wit phrase 
them ? 

30. (a) In the first poem which won the public, what shows 

that his American patriotism was clothed in eighteenth 
century rhetoric ? (b) ^Vhat eighteenth century style 
of verse did he cling to through all his fifty years of 
writing? (c) Why did it lend itself so well to 
" occasional " verse? 

31. (a) In "The Boys " on what lurking uneasiness of his 

classmates is the humor of the theme made? (b) In 
"A Farewell to Agassiz " what scientific theory pro- 
pounded by the great scientist made the salutation by 
the mountain particularly witty ? (c) How does "The 
Iron Gate ' ' show an advance in seriousness, yet what 
touches of the old wit still remain ? 

32. (a) How is the logical Yankee reasoning put to ridicule 

in the " One-Hoss Shay " ? (b) How by a whimsi- 
cality do Salem witches become the cause of a modern 
invention ? (c) What allusion to famous rides adds to 
the humor of "How the Old Horse Won the Bet " ? 
(d) How is Holmes's characteristic humor touched out 
in " Grandmother's Story of Bunker Hill " ? 

33. (a) What "knee-buckle" verses show that Holmes 

stands at the head of the school of Lockyer, Dobson, 
and Bunner ? (b) How in each poem does the jest 
jostle the sentiment? (c) What lines did Lincoln 



MAJOR NEW ENGLAND POETS 23 

never tire of repeating? (d) What last stanza con- 
tained a melancholy prophecy of the poet's own lon- 
gevity ? (e) In "Bill and Joe " how does an epitaph 
jostle a nickname ? 

34. (a) What artistic symbolism is used in "Under the 

Violets"? (b) What charity lies in "The Voice- 
less," and what line in Gray's " Elegy " expresses the 
same thought? (c) How does "The Chambered 
Nautilus " show the thought and imagination of a 
scholar and modern scientific thinker ? (d) In what 
reverential feeling does the last stanza culminate ? 
(e) How does the last line of each stanza contribute 
to the sonorous quality of the poem ? 

35. (a ) How did his work seem to " disperse the ancestral 

gloom " ? (b) In what field is he supreme master? 
(c) How did he preserve, not revive, the eighteenth 
century classicism in the nineteenth century ? 

36. (a) In what respect are John GreenleafWhittier's ances- 

try, rearing, and temperament unique among our 
poets ? (b) For what unpopular cause did he postpone 
the artistic development of his poetic faculty ? 

37. (a) How were the qualities that make him our best 

balladist early shown in ' ' Cassandra Southwick ' ' ? 

(b) How does this ballad show his love of freedom ? 

(c) How is the quality of m^ovement shown in 
" Barbara Frietchie " ? (d) What popular enthusiasm 
did this ballad embody ? (e) V/hat two faiths does 
his ballad of the exiled Acadian set dramatically 
together? (f) Where, characteristically, is his own 
sympathy shown to lie ? (g) How do the first and 
last stanzas make an exquisite setting for the poem ? 



24 MAJOR NEW ENGLAND POETS 

38. (a) How does " Skipper Ireson's Ride " illustrate grim 

humor unusual to Whittier ? (b) What effective use 
of the refrain is made ? (c) From whom does he make 
the suggestions of release come — thus showing rare 
dramatic touch? (d) With what one word in the 
last stanza is the change of feeling suggested ? 

39. (a) What dramatic quality in his passionate invective 

against Daniel Webster? (b) How did he and the 
world afterward come to understand this attitude of 
Webster's? (c) What poem of Robert Browning's 
also laments a ' * lost leader ' ' ? 

40. (a) What element of tragedy that often lies in everyday 

lives was expressed in " Maud MuUer," and won the 
popular heart ? (b) How does even the choice of the 
name " Maud " show Whittier' s faithfulness to honest 
pictures of rural life ? 

41. (a) Why did the triumph of his cause make an improve- 

ment in the technique of his verse ? 

42. (a) What did all his pictures of New England scenes 

gain from his consciousness of his "lost youth"? 

(b) In "Telling the Bees" what old New England 
custom serves as a death announcement to the lover ? 

(c) What do memory's eyes see enacted in the old 
New England schoolhouse? (d) What picture of 
the poet's personal romance is found in "A Sea 
Dream ' ' ; yet what lines show that he never wishes the 
world to unveil it ? 

43. (a) In what masterpiece did he picture a phase of life 

that has vanished from among us? (b) How does 
the snow, through his imagination, transform the 
commonplace to the fanciful ? (c) What ' * dear home 



MAJOR NEW ENGLAND POETS 25 

faces ' ' shine immortally in that firelight ? (d) By 
what strange guest, with his instinct for color and 
contrast, did he complete the group — a guest who 
afterward died in a Philadelphia almshouse? (e) 
Why may Whittier call them "Flemish pictures"? 
(f) Of what two home idyls of Goldsmith and Burns 
is this an American successor ? 

44. How does the faith which is the life of his genius voice 

itself in hymns ? 

45. How, though a poet, "who clings to the bleak hills of 

New England, who must feel her soil beneath his 
feet, " is he yet a poet of the nation ? 

46. In what respects were Ralph Waldo Emerson's ancestry, 

early surroundings, and training like and unlike the 
other New England poets ? 

47. (a) How does "Good-bye" announce his farewell to 

his profession ? (b) How does the last line express 
the message his poems will bring ? 

48. (a) What touches of New England scenery make the 

background of " Thine Eyes Still Shined " — one of 
the few songs that sing of the personal ? (b) How 
does "Give all to Love" illustrate his power to sing 
of the abstract and general ' ' with flame as pure as 
moonlight and as high removed ' ' ? (c) How does 
his optimism show itself in the poem's lines "When 
half-gods go, the gods arrive"? (d) What is a 
repetition of this noble conception of love in "The 
Sphinx, ' ' stanza twelve ? 

49. (a) In his nature poem "To the Rhodora " what 

Wordsworth-like painting of a flower wasting its 
charms unseen? (b) What term of endearment, by 



26 MAJOR NEW ENGI,AND POETS 

an exquisite touch, makes the Hower a personality to 
voice an eternal truth? (c) In what musical line is 
that eternal truth expressed? (d) How does "The 
Humble Bee" illustrate his use of epithets that com- 
bine the actual description with visions of the unseen? 
(e) How has he secured the effect of the bee's hum 
without any of the imitative "buzz, buzz"? (f) 
What truth of nature is symbolic in " this Epicurean? " 
(g) How does "Forbearance" express that feeling 
for the sacredness of nature Avhich Landor voiced in 
"The ever-sacred cup of the pure lily hath beneath 
my hands felt safe, nor lost one grain of gold"? 

50. (a) How does "Each and All" symbolize the illusive- 

ness of nature, and human nature, and the mysticism 
that must shroud the ideal? (b) What lines show 
that only by yielding to the whole, not by trying to 
capture a part, does one find the Eternal Oneness 
of Nature — that harmony which is beauty? (c) How 
does " The Problem " show that all forms of religion, 
art, and nature are but varied expressions of the vast 
Over-Soul? (d) What couplet in it is Emerson's 
epitaph ? 

51. (a) With what vital grip and masterful compression does 

he call up Concord Fight and all that it stood for ? 
(b) In " Hamatreya" what Anglo-Saxon grimness in 
the song the earth sings? (c) Under what strong 
simile does the poet express the uselessness of man's 
pursuit of the material ? 

52. (a) With what exquisitely human lament does the 

"Threnody" begin — that most spontaneous and ele- 
vating of all lyrical elegies? (b) With what impas- 



MAJOR NEW ENGLAND POETS 27 

sioned epithets does he refer to the dead child? (c) 
By what noble healing is he led to see that grief 
is blasphemy in the presence of nature's mysteries? 
(d) How does he phrase the truth of immortality, 
which ' ' sunsets as Avell as the scroll of human fates' ' 
show ? (e) How do the last two lines express, through 
symbols, that death " pours finite into infinite " ? 

53. (a) What quatrain expresses the tranquil mood, the 

eternai'^ youth, that nobility possesses? (b) What 
quatrain expresses the harmony of perfect manhood ? 

54. (a) How does Emerson most nearly of the moderns fulfil 

Wordsworth's prophecy that the ideal poet must be a 
philosopher as well? (b) How does his fusion of 
his impassioned feeling for the beauty of nature, and 
the truth symbolized, make his lyricism unique in 
quality? (c) How may his technique, so blamed, so 
unsatisfying to a craftsman, be just the best fitted to 
make the mind read this spiritual message ? (d) How, 
alone as yet among Americans, does his largeness of 
spirit belong to no particular country and no particular 
time ? 



Master- 
craftsman 
of Dainti- 
ness 



The Re- 

vealer of 

the 

Spiritual 



" Hermit 
Thrush of 
Singers" 



p. 8; Poems, p. 58; 
9, p. 384; Warner's 



Syllabus B 
Minot Mtvtx SEnsfand poets 

Thomas Bailey Aldrich (1836- ) 

Nocturne, Learned' s Treas. Fav., p. 229; Poems, p. 59. 

Prescience, Knowles, p. 221; Stedraan-Hutchinson, 
Vol. 9, p. 383; Stedman's Anth., p. 383; War- 
ner's Lib., Vol. I, p. 316. 

Identity, Learned' s Treas. Am 
Stedman-Hutchinson, Vol. 
Lib., Vol. I, p. 315. 

The Unforgiven, Poems, p. 20. 

When the Sultan Goes to Ispahan, Whittier's Songs of 
Three Centuries, p. 150; Knowles, p. 253; Sted- 
man's Anth., p. 379. 

Edward Rowland Sill (1841-1887) 

The Fool's Prayer, Knowles, p. 205; Stedman-Hutch- 
inson, Vol. 10, p. 97; Stedman's Anth., p. 419; 
Warner's Lib., Vol. 34, p. 13442. 

Venus of Milo, Poems, 1st Series, p. i. 

A Morning Thought, Poems, 1st Series, p. Ill; War- 
ner's Lib., Vol. 34, p. 13443. 

Thomas W. Parsons (1819-1892) 

Paradisi Gloria, Knowles, p. 20I; Stedman-Hutch- 
inson, Vol. 7, p. 392; Stedman's Anth., p. 241; 
Warners Lib., Vol. 28, p. 11 121. 
On a Bust of Dante, Bryant's Lib., p. 814; Knowles, 
p. 185; Learned' s Treas. Am., p. 135; Stedman- 
Hutchinson, Vol. 7, p. 389; Stedman's Anth,, p. 
237- 

(28) 



MINOR NEW ENGLAND POETS 



29 



The Poet 
of Trans- 
cendental- 
ism 



Singer of 
the Sea 



Revealer 
of 

■Woman's 
Thought 



Jones Very (i8l3-i{ 

The Spirit Land, Bryant's Lib., p. 331; Whittier's 

Songs of Three Centuries, p. 176. 
The Dead, Stedman-Hutchinson, Vol. 7, p. 218; Sted- 
man's Anth., p. 174; Warner's Lib., Vol, 38, p. 
15325- 

Celia Thaxter (1836-1894) 

The Sandpiper, Bryant's Lib., p. 446; Learned' s 

Treas. Am., p. 168; Stedman-Hutchinson, Vol. 9, 

p. 365; Stedman's Anth., p. 369; Warner's Lib., 

Vol. 37, p. 14763. 
Submission, Poems, p. 160; Whittier's Songs of Three 

Centuries, p. 296. 

Helen Hunt Jackson (1831-1885) 

Tides, Poems, p. 96. 

Thought, Emerson's Parnassus, p. 91; Knowles, p. 

180; Poems, p. 109. 
Gondolieds, Knowles, p. 155; Poems, ^j. 32. 
Spinning, Poems, p. 13; Stedman-Hutchinson, Vol. 8, 

p. 507; Warner's Lib., Vol. 20, p. 8064. 



Elfish 
Sibyl 



Disciple 

of 

Whittier 



Emily Dickinson (1830-1J 

With a Flower, Poems, ist Series, p. 50. 

Setting Sail, Poems, 1st Series, p. 1 16. 

Drinking Song, Poems, 1st Series, p. 34. 

A Book, Poems, 3d Series, p. 29; Stedman's Anth., 

p. 320. 
The Chariot, Knowles, p. 264; Poems, ist Series, p. 
138. 

Lucy Larcom (1824-1893) 

Hannah, Learned's Treas. Fav., p. 377; Warner's 
Lib., Vol. 40, p. 16651. 

A Strip of Blue, Learned's Treas. Am., p. 36; Sted- 
man's Anth., p. 299; Whittier's Songs of Three 
Centuries, p. 274. 



30 MINOR NEW ENGLAND POETS 

The Bal- Nora Perry ( 1841-1896) 

The Love-Knot, Bryant's Lib., p. 143; Learned's 
Treas. Am., p. 297; Stedman's Anth., p. 424. 

Riding Down, Stedman-Hutchinson, Vol. 10, p. I02; 
Stedman's Anth., p. 424. 

Cressid, Stedman's Anth., p. 423. 

Celtic John Boyle O'Reilly ( 1844-1890) 

The Cry of the Dreamer, Warner's Lib., Vol. 27, p. 
10S61; Whittier's Songs of Three Centuries, p. 355. 

James Jeffrey Roche ( 1847- ) 

The V-a-s-e, Poems, p. 63; Stedman-Hutchinson, Vol. 
10, p. 421. 

Louise Imogen Guiney (1861- ) 

The Wild Ride, Stedman-Hutchinson, Vol. il, p. 310; 
Stedman's Anth., p. 666; Warner's Lib., Vol. 
41, p. 16827. 



MINOR NEW ENGLAND POETS 31 

^uedtions on tf|i^ Minor M&m S^nglanS l^netd 

1. The veteran ])oets have stood out by the breadth and 

earnestness and naturahiess of their work ; what is the 
general characteristic of the minor poets that follow ? 

2. (a) How does Thomas Bailey Aldrich stand out as a 

leader in this strict interpretation of "Art for Art's 
Sake" ? (b) In " A Nocturne" how by one phrase 
does he call up Shakespeare's balcony scene? (c) 
What graceful touches in the poem ? (d) What minor 
strain in it makes the title, a ' ' Nocturne, ' ' especially 
fitting ? 

3. (a) In " The Unforgiven " what in the second and third 

stanzas brings out the fixity of art ? (b) Yet how is 
the spirit symbolized just the opposite of the happy 
spirit crystallized in Keats' s " Ode to a Grecian Urn," 
where boughs cannot ever bid the spring adieu ? (c) 
What makes the siren's music so exquisite ? (d) How 
is color, music, and odor used to stamp the picture on 
the imagination ? 

4. (a) In " Prescience " by what subtle way does he suggest 

"the sorrow that was to be " ? (b) In "Identity" 
by what phrases is the indefiniteness of the spirit's 
abode after death expressed ? (c) How is the doubt as 
to personal identity suggested ? (d) By its weird 
suggestive thought quality, why does it lend itself to 
the art of Elihu Vedder ? 

5. (a) What oriental poem shows that he can treat a volup- 

tuous theme with New England purity? (b) How by 
fancy can he see an " innocent sultan " in his neigh- 
bor's house opposite? 



32 MINOR NEW ENGLAND POETS 

6. (a) What quality does Edward Rowland Sill have that is 

missed in Aldrich? (b) How does "The Fool's 
Prayer ' ' show in terse fashion that it is by our 
blunders rather than by our sins that we stay the cause 
of right? 

7. (a) What two famous statues of Aphrodite are made the 

basis of "The Venus of Milo"? (b) What is sym- 
bolized by each in the poet's interpretation? (c) 
Under what imagery does he picture the subtlety of 
the one? (d) How does his language take on some- 
thing of the Greek calm and chastity ? 

8. (a) In "A Morning Thought" what warning does the 

mortal give the angel if he would visit earth ? (b) 
How does the angel make that warning absurd? (c) 
What is symbolized by the message coming when the 
east is whitening ? 

9. Why may the quality and number of the poems of Dr. 

Thomas Parsons make fitting his title " Hermit Thrush 
of Singers ' ' ? 

10. What sonorous quality of tone in " Paradisi Gloria," 

and how is it secured by Latin derived words ? 

11. (a) In his lyric "On the Bust of Dante," what qualities 

of the man could be seen from the bust ? (b) What 
qualities, also his, are unsuggested by his face ? (c) 
Who mocks our verdicts — and what judgment is given 
of Dante ? (d) What qualities make this lyric one of 
the finest in the English language — qualities that Dr. 
Parsons' s own study of Dante would be likely to 
create ? 

12. In what form of verse does Jones Very, the mystic, 

express himself? 



MINOR NEW ENGLAND POETS 33 

13. In "The Spirit Land" how does he show that the con- 

templation of God is the ''enchanted land" ? 

14. (a) In "The Dead," who to Very's pure eyes are the 

really dead ? (b) Under what nature figure does he 
describe them ? 

15. (a) Of what select audience may he always be sure? 

(b) What is his poetic kinship to Emerson ? 

16. How did Celia Thaxter learn to love the sea? 

17. (a) How does she suggest the coming storm in "The 

Sandpiper ' ' ? (b) How is the loneliness of the scene 
brought out ? (c) What lesson of trust is learned ? 

18. (a) In "Submission," under what imagery is separation 

by death suggested ? (b) What does the steadfastness 
of the sparrow's song bring home to her? 

19. Out of what terrible sorrows did Helen Hunt Jackson 

turn to poetry as consolation ? 

20. How may "Spinning" symbolize her own resignation? 

21. (a) In " Gondolieds " what song quality is notable? 

(b) In Lied I. how does the minor quality of the 
thought lie in a retrospect ? (c) In Lied II. how 
does the minor quality lie in a prophecy ? 

22. (a) How does the sonnet "Tides" voice an intensity 

of feeling similar to that shown by Alice Meynell in 
her sonnet " Renouncement " ? (b) What is symbo- 
lized by the sea ? by the shore ? 

23. (a) In "Thought" by what rare imagination has she 

shown that our will cannot command our thought? 
(b) What qualities has this sonnet that appealed so to 
Emerson that he heralded her first poems ? 

24. How does the shy, intense personality of Emily Dickin- 

son, living a recluse all her life in a New England 
village, suggest Emily Bronte's personality? 



34 MINOR NEW ENGLAND POETS 

25. (a) What exquisite veiling of feeling is shown in " With 

a Flower"? (b) How does the fourth line show a 
stroke of the unexpected ? 

26. (a) With what flashing imagery does she picture the 

enthusiasm a book or a poem rouses? (b) How does 
' ' Setting Sail ' ' subtly express the exultation of the 
soul " flinging the dust aside " ? 

27. (a) In the " Drinking Song " under what bacchanalian 

figures does she express her love for nature? (b) 
What elfish pictures of bees and butterflies, saints and 
seraphs, does she commingle? (c) How does "The 
Chariot ' ' express in sybilline form the last slow journey 
in the hearse to the grave, that opens eternity long 
looked for? 

28. (a) How does Lucy Larcom in the background for 

" Hannah " show a resemblance to Whittier's " Skip- 
per Ireson's Ride"? (b) By what repetition is the 
effect of the faithfulness secured ? (c) What song of 
Thomas Hood's does its monotony suggest ? 

29. (a) In '*A Strip of Blue" what does the fancy make 

of the sky? (b) Again, like Whittier, what thought 
of God comes to the humble, shut-in surroundings ? 

30. (a) In Nora Perry's "The Love Knot " what repetition 

in each stanza keeps the provoking picture before one's 
mind ? (b) How did the wind help to enslave Ellery 
Vane? 

31. (a) In "Riding Down" how is the breathless quality 

of the ballad secured? (b) What original variation 
of the refrain in the martial picture? (c) How is 
contrast eff"ectually used ? 

32. (a) In " Cressid " by what refrain is the alluring beaixty 



MINOR NEW ENGLAND POETS 35 

of Cressid painted? (b) How is the warning of the 
fatefulness of that beauty made ? 

33. How does John Boyle O'Reilly show the Celtic sentiment 

in the " Cry of the Dreamer " ? 

34. How is the Celtic wit shown by James Jeffrey Roche in 

the skit on the girls from Boston, New York, Phila- 
delphia, and the West ? 

35. (a) How is the Celtic dash and chivalry brought out in 

Louise Cruiney's "Wild Ride"? (b) How does the 
third stanza give a touch of Celtic superstition ? (c) 
For v.'hat troops of Cromwell has this sometimes been 
called the battle song? 



National 3Eta: poctrg 

Syllabus C 
Poe snd Minor %nntht:tn Poets 

" Passion- 
ate singer 

oftheirrev- Edgar Allan Poe (1809-1849) 
ccable 

dead" Annabel Lee, Works, Vol. i, p. 344; Stedman's 

Memoriam Anth.,p. 151. 

Ulalume, Works, Vol. I, p. 335; Stedman's 
Anth., p. 151. 

Parables The Haunted Palace, Works, Vol. i, p. 346; 

Stedman's Anth., p. 149. 
The Conqueror Worm, Works, Vol. I, p. 348; 

Stedman's Anth., p. 149. 
The City in the Sea, Works, Vol. i, p. 352; 

Stedman's Anth., p. 147. 

Studies in The Bells, Works, Vol. I, p. 339; Stedman's 
Melody ^j^tij^ p ,^0 

Israfel, Works, Vol. I, p. 362; Stedman's Anth., 

p. 148. 
The Raven, Works, Vol. i, p. 321 ; Stedman's 

Anth., p. 144. 

Personal To Helen, Works, Vol. I, p. 429; Stedman's 
Anth., p. 144. 
For Annie, Works, Vol. i, p. 364. 

"Father Abram Joseph Ryan (1839-1886) 

The Conquered Banner, Knowles, p. 119; Sted- 

man-Hutchinson, Vol. 9, p. 599; Stedman's 

Anth., p. 402. 
My Beads, Stedman-Hutchinson, Vol. 9, p. 601. 

(36) 



POE AND MINOR SOUTHERN POETS 



37 



Poets of 
the Lost 
Cause 



Creator of 
Tone- 
studies 



" Father 
Tabb" 



Lyricist of 
the War- 
spirit 



Paul Hamilton Hayne (1830-1886) 

Preexistence, Bryant's Lib., p 734; Whittier's Songs 

of Three Centuries, p. 309. 
In Harbor, Stedman-Hutchinson, Vol. 8, p. 465; 
Stedman's Anth., p. 319. 

Henry Timrod (1829-1867) 

Ode, Emerson's Parnassus, p. 258; Stedman's Anth., 

P- 317- 
Spring in Carolina, Warner's Lib., Vol. 37, p. 14962; 
Whittier's Songs of Three Centuries, p. 311. 

Sidney Lanier (1842-1881) 

An Evening Song, Knowles, p. 215; Learned's Treas. 

Am., p. 36; Poems, p. 151; Warner's Lib., Vol. 

22, p. 8899. 
Song of the Chattahoochee, Knowles, p. 268; Poems, 

p. 24; Stedman-Hutchinson, Vol. 10, p. 147; 

Stedman' s Anth. , p. 434; Warner's Lib., Vol. 22, 

p. 8897. 
The Stirrup-cup, Poems, p. 45; Warner's Lib., Vol. 

22, p. 8902. 
Marshes of Glynn, Poems, p. 14; Stedman-Hutchin- 
son, Vol. 10, p. 145; Stedman's Anth., p. 43$. 

John Banister Tabb (1845- ) 
Childhood, Knowles, p. 230. 
The White Jessamine, Knowles, p. 235. 

Francis O. Ticknor (1822-1874) 

The Virginians of the Valley, Stedman's Anth., p. 253. 
Little Giffen, Stedman's Anth., p. 254. 



38 POE AND MINOR SOUTHERN POETS 

^ttftdfions 0n ^oe anit lite Itttnotr Soutftern ^oefd 

1. (^a) Which of all the major American poets has the great- 

est European reputation ? (b) How do the subjects of 
his poems show that he is the least national of them ? 
(c) Why was the raw civilization of the United States 
in the thirties particularly luicongenial to one who 
must live entirely as a man of letters? (d) How 
does his narrowness of range lead to his absolute 
mastery of his field? (e) How did his work continue 
on American soil the romantic revival made by 
Coleridge, Shelley, and Byron ? 

2. What poems of his show his favorite mood of " passion 

for the irrevocable dead ' ' ? 

3. (a) In "Annabel Lee," one of his last lyrics, what 

repeated refrain suggests man's realm? (b) What 
refrain expresses the purity of love? (c) What subtle 
hint that the maiden was heaven-born? (d) What 
insistence of man's indomitable will? (e) How do 
the constellations heighten his remembrance? (f)- 
How does the last repetend hold and prolong the 
motive, as might the end of a strain of music ? 

4. (a) In " Ulalume " by what repetend at the beginning 

does he strike the mood of the poem? (b) What 
strange musical names does he use to suggest the 
" misty mid-region ' ' ? (c) How is his absolute loneli- 
ness brought out by his sole companion ? (d) How 
is his benumbed grief reawakened with new poignancy ? 

5. (a) In "The Haunted Palace" what imaginative pic- 

tures of the mind in its sanity? (b) What lurid 
picture of its overthrow? (c) How is music used to 
typify t!ie mind before and after the overthrow ? 



POE AND MINOR SOUTHERN POETS 39 

6. (a) Under what tragic imagery does "The Con- 

queror Worm ' ' express the absoUite hopelessness of 
man's fate? (b) In ''The City in the Sea" what 
strangeness is suggested by the Turneresque descrip- 
tion of the towers? of the rays that light the city? 
of the sea itself? (c) How is the Lethean calm 
suggested ? (d) What terrible picture of the city 
when it shall sink ? 

7. (a) In "The Bells ' ' how are the types of joy, love, terror, 

delirium, sadness, and despair suggested ? (b) What 
vowel sound predominates in the first stanza? in the 
second? in the third? How are the three inter- 
woven in the last ? (c) How does the thought come 
that there are ghouls that gloat at man's despair? 
(d) What clue does Poe give as to his method of 
writing "The Raven " ? (e) What sense of deliber- 
ateness is shown in the quaint diction? (f) What 
symbolism in the raven ? in the bust of Pallas ? (g) 
What oriental accessories of decoration ? (h) What 
skill is shown in making the original refrain finally 
become a pointed answer to the questions? (i) How 
does the last verse echo again the thought that man's 
grief is the sport of demons? 

8. (a) How does "Israfel," his finest lyric, express the 

rapturous harmony felt in heaven at the music ? (b) 
What was the secret of Israfel's power? (c) How 
does the poet express that he has the same secret, the 
ecstasy, but not the place ? 

9. (a) What classic grace and delicacy does " To Helen " 

show, a poem said to have been written at fourteen ? 
(b) How is it happier in tone than any of his others? 



40 rUE AND iMIN(3R SOUTHERN POETS 

(c) In the lyric "For Annie" under what imagery 
does he speak of life — an imagery used in "Mac- 
beth' ' ? (d) What repose does he find in death ? (e) 
What consciousness of love remains? (f) What 
symbolism in the use of the pansies ? 

10. How is Poe an exquisite lyrist of one mood? 

11. What two tendencies, preeminent in Poe, are found in 

the minor Southern poets ? 

12. (a) How does Father Tabb in " The White Jessamine " 

prove loyal to the Southern tradition of a sad note ? 

(b) What phrases suggest the emotional quality? 

(c) Contrast this climbing jessamine with Aldrich's 
climbing white rose ? 

13. (a) In " Childhood " what crispness of the words can be 

noticed in reading? (b) How can each stanza by 
itself constitute a brief poem ? 

14. (a) What poem of Father Ryan's laments the "lost 

cause " ? (b) How does stanza three show the fervor 
for the flag? (c) What priest's resignation and wise 
counsel in the last stanza? (d) What three words 
have been passionately iterated in each stanza? 

15. (a) How does "My Beads" embody religious ecstasy? 

(b) How have the beads served as a father confessor? 

16. (a) How does Paul Hayne show that, tho' ruined by the 

war, he could in " Preexistence " have visions that 
left him rich in spirit ? (b) Of what poem of Low- 
ell's is it suggestive in thought ? 

17. (a) What lines in "In Harbor" express the hopeless- 

ness of the outcome of life ? what the terrible 
struggle ? (b) By what strong simile does he suggest 
the joy that the harbor lights bring? (c) In lines 



POE AND MINOR SOUTHERN POETS 41 

five and six what repetition suggests Poe's diction? 
(d) How does the sense of weariness and the desire 
for rest in the poem find its contrast in Arthur Hugh 
Clough's " Where lies the land to which the ship 
would go " ? 
I S. (a) How does Henry Timrod in his ' 'Ode ' ' express South- 
ern gallantry ? (b) With what sad picture does the 
ode close ? 

19. (a) What delicate characterization opens his "Spring 

in Carolina " ? (b) To his imagination what does the 
yellow jasmine seem? (c) What hints of the riot in 
nature? (d) By what similitude does he suggest the 
feeling that in spring even the miraculous will not 
surprise us ? 

20. How does his work show a less sad note than Hayne's? 

21. Toe's aim had been to make a melody of words; 

what was Sidney Lanier's more ambitious aim ? 

22. What two arts did he seek to unite? 

23. What equipment did he have for his work ? 

24. (a) In the "Evening Song" what literary illusion 

makes the richness of the sunset ? (b) How is the 
permanence of love suggested ? (c) What singing 
quality is notable ? 

25. (a) In " The Stirrup-Cup ' ' what makes the cordial so rare 

that Time hands him in parting? (b) What great 
poets drank the draught ? (c) What frank acceptance 
of death? (d) How is a bold knightly spirit carried 
out in the abruptness of the structure ? 

26. (a) What noble symbolism in " The Song of the Chatta- 

hoochee " ? (b) How is the tone of the swiftness of 
the mountain stream secured? (c) In stanza two 



42 POE AND MINOR SOUTHERN POETS 

what allurements by tenderness are suggested? (d) 
What allurements of rest and coolness? (e) What 
allurements of imagination? (f ) How does the last 
stanza suggest the haunting of the ideal ? 

27. (a) In "The Marshes of Glynn " what marvellously 

interlaced picture of the forest does Lanier weave by 
vowels, repetitions, alliterations, and varied metres? 
(b) What strength do the woods give the poet ? (c) 
What can he now seek ? (d) What knowledge of God 
do the marshes give him? (e) What intricate 
voweled picture of the marshes receiving the influx of 
the sea till they are one? (f) How do four short 
lines hold that moment? (g) How does the last 
stanza suggest, by full-mouthed vowels, the encom- 
passing of the infinite ? 

28. What poem of Dr. Ticknor's uses the historic chivalry 

of the Golden Horseshoe Knights to bring out the 
feeling with which the Virginians took up the war ? 

29. What poem pictures with rare power the chivalry of a 

' ' poor white ' ' in the Southern army ? 



Pioneer in 
Fancy 



The Heroic 
Bard 



The Lost 
Dramatist 



The 
Orientalist 



SVLLAF.US D 

^o^ts ot tft^ MtaSU states 

Joseph Rodman Drake (1795-1820) 

The Culprit Fay, Bryant's lib., p. 769; Stedman- 
Hutchinson, Vol. 5, p. 363; Stedman's Anth., p. 
42; Warner's Lib., Vol. 12, p. 4854. 
The American Flag, Bryant's Lib., p. 536; Stedman- 
Hutchinson, Vol. 5, p. 378; Stedman's Anth., p. 
46; Warner's Lib., Vol. 12, p. 4863; Whittier's 
Songs of Three Centuries, p. 156. 

Fitz-Greene Halleck (1790-1867) 

Joseph Rodman Drake, Bryant's Lib., p. 834; Knowles, 

p. 36; Leamed's Treas. Am., p. 221; Stedman's 

Anth., p. 37. 
Marco Bozzaris, Bryant's Lib., p. 524; Stedman's 

Anth., p. 36; Warner's Lib., Vol. 17, p. 6862. 

George H. Boker (1823-1890) 

Dirge for a Soldier, Bryant's Lib., p. 482; Knowles, p. 

106; Whittier's Songs of Three Centuries, p. 290. 
Ballad of Sir John Franklin, Griswold's Poets, p. 591 ; 

Stedman's Anth., p. 261. 

Bayard Taylor (1825-1878) 

Bedouin Song, Knowles, p. 85; Learned' s Treas. Am., 

p. 130; Poems, p. 55; Stedman's Anth., p. 272, 

Warner's Lib., Vol. 36, p. 14533. 
The Song of the Camp, Leamed's Treas. Am., p. 218; 

Poems, p. 88; Stedman's Anth., p. 274; Warner's 

Lib., Vol. 36, p. 14537; Whittier's Songs of Three 

Centuries, p. 262. 
The Soldier and the Pard, Poems, p. 83. 
(43) 



44 



POETS OF THE MIDDLE STATES 



The 
Lryricist 



The 

Painter- 
Poet 



The Critic- 
Poet 



Register of 
Music, 
Art, and 
Letters 



Society 
Verse 



Richard H. Stoddard (1825- ) 

The Flight of Youth, Knowles, p. 129; Learned' s 
Treas. Am., p. 54; Stedman's Anth., p. 281 ; 
Warner's Lib., Vol. 35, p. 14033. 

Sorrow and Joy, Learned' s Treas. Am., p. 68. 

Adsum, Stedman- Hutchinson, Vol. 8, p. 236; Sted- 
man's Anth., p. 285. 

Thomas Buchanan Read (1822-1872) 

Drifting, Bryant's Lib., p. 751 ; Learned' s Treas. Am., 
p. 41; Stedman-Hutcliinson, Vol. 8, p. 34; Sted- 
man's Anth., p. 252; Warner's Lib., Vol. 30, p. 
12095. 
The Closing Scene, Stedman-Hutchinson, Vol. 8, p. 
37; Stedman's Anth., p. 250; Warner's Lib., 
Vol. 30, p. 12099; Whittier's Songs of Three Cen- 
turies, p. 279. 

Edmund Clarence Stedman (1833- ) 

Pan in Wall Street, Knowles, p. 188; Poems, p. 250; 
Stedman's Anth., p. 334; Warner's Lib., Vol. 35, 
p. 13866. 

The Discoverer, Knowles, p. 150; Poems, p. 80; Sted- 
man's Anth., p. ^;^y, Warner's Lib., Vol. 35, p. 
13868. 

Toujours Amour, Knowles, p. 194; Learned' s Treas. 
Am., p. 295; Poems, p. 238; Warner's Lib., Vol. 
35, p. 13865. 

Richard Watson Gilder (1844- ) 
Browning, Poems, p. 155. 
Handel's Largo, Poems, p. 210. 
The Stricken Player, Poems, p. 211. 

Henry Cuyler Bunner (1855-1896) 

The Way to Arcady, Knowles, p. 243; Stedman-IIutch- 
inson, Vol. Ii, p. 187; Stedman's Anth., p. 596; 
Warner's Lib., Vol. 7, p. 2743. 

A Triolet, Stedman-Hutchinson, Vol. Ii, p. 188; Sted- 
man's Anth., p. 597. 



POETS OF THE MIDDLE STATES 45 

Society Clinton Scollard (i860- ) 

As I Came Down from Lebanon, Stedraan-Hutchinson, 

VoL II, p. 285; Stedman's Anth., p. 658. 
The Book-Stall, Stedman-IIutchinson, Vol, II, p. 2S6; 

Warner's Lib., Vol. 41, p. 16774. 

Chanter of ,_, , ___, . , „ n \ 

Comrade- Walt Whitman (1819-1892) 

ship and When Lilacs Last in the Dooryard Bloomed, Poems, p. 

^^'T^oc- yg. Warner's Lib., Vol. 39, p. 15902. 

From "Out of the Cradle Endlessly Rocking," Sted- 

man-Hulchinson, Vol. 7, p. 506; Stedman's 

Anth., p. 227; Poems, p. 43. 

The Mystic Trumpeter, Poems, p. 39. 

O Captain ! My Captain, Stedman's Anth., p. 231. 

General John Brent .... Theodore Winthrop. 

Reading -pj^g Hoosier Schoolmaster .... Edward Eggleston. 



Popular 
Melodists 



"Bards of 
the Middle 
"West" 



Farm- 
balladist 



Nature 
Poets and 
Lyrists 



Syllabus E 
Poets of the H9e$t 

Alice Gary ( 1820-187 1) 

An Order for a Picture, Poems, p. 99; Warner's Lib., 
Vol. 40, p. 16459. 

Phoebe Gary (1824-1871) 

Nearer Home, Bates' s Cambridge Bk. , p. 123; Bryant' s 
Lib., p. 337; Leamed's Treas. Am., p. 94; 
Stedman's Anth., p. 297. 

John James Piatt (1835- ) 

The Mower in Ohio, Stedman-Hutchinson, Vol. 9, p. 
239; Stedman's Anth., p. 349. 



Sarah Morgan Piatt (1836- ) 

After Wings, Stedman-Hutchinson, Vol. 9, p. 
Stedman's Anth., p. 374. 



406; 



Will Garleton (1845- ) 

Betsy and I are Out, Stedman-Hutchinson, Vol. 10, p. 

311; Warner's Lib., Vol. 41, p. 16671. 
Over the Hill to the Poor-house, Poems, p. 51. 

Maurice Thompson ( 1844- 1 901) 

The Bluebird, Stedman-Hutchinson, Vol. 10, p. 226; 

Stedman's Anth., p. 484; Whittier's Songs of 

Three Centuries, p. 355. 
Death of the White Heron, Stedman-Hutchinson, Vol. 

10, p. 225. 

(46) 



POETS OF THE WEST 



47 



Nature 
Poets and 
Lyrists 



Sintcer of 
Childhood 



Human 
Nature 
Poet in 
Dialect 



Poet of the 

Rougher 

W^est 



Poet of the 

Mining 

Camp 



Poet of the 
Mexico- 
Californian 
Romance 



Edith M. Thomas (1854- ) 

A Flute, Stedman-Hutchinson, Vol. 11, p. 156. 
Syrinx, Stedman-Hutchinson, Vol. 11, p. 153; War- 
ner's Lib., Vol. 37, p. 14846. 

Eugene Field (1850-1895) 

Little Boy Blue, Knowles, p. 231 ; Learned's Treas. 

Am., p. 237 ; Poems, p. 8; Stedman's Anth., p. 

528. 
Wynken, Blynken, and Nod, Knowles, p. 284; Poems, 

p. 128; Stedman-Hutchinson, Vol. 10, p. 613; 

Stedman's Anth., p. 526 ; Warner's Lib., Vol. 14, 

p. 5690. 

James Whitcomb Riley (1852?- ) 

Knee-deep in June, Poems, p- 91; Stedm.an-Hutchin- 
son, Vol. II, p. 132; Warner's Lib., Vol. 31, p. 
12270. 
The Absence of Little Wesley, Knowles, p. 280. 

John Hay (1838- ) 

JimBludsoe, of the Prairie Belle, Bates's Cambridge Bk., 
p. 731 ; Warner's Lib., Vol. 18, p. 7108. 

Little Breeches, Bates's Cambridge Bk., p. 73b; Sted- 
man's Anth., p. 397. 

Francis Bret Harte (1839- ) 

Dickens in Camp, Bryant's Lib., p. 840; Learned's 
Treas. Am., p. 193; Whittier's Songs of Three 
Centuries, p. 301. 

Plain Language from Truthful James, Bates' s Cambridge 
Bk., p. 729; Emerson's Parnassus, p. 504; Sted- 
man-Hutchinson, Vol. 10, p. 12. 

Twenty Years, Poems, p. 204. 

Joaquin Miller (1841- ) 

Kit Carson's Ride, Stedman-Hutchinson, Vol. lO, p. 
82; Warner's Lib., Vol. 25, p. 10032. 



48 POETS OF THE MIDDLE STATES 

<@tt«sUon$ 0n Poets of tfia Sltiftdlj* and 

^eatisrn States 

•I. In the early third of the nineteenth century the literary 
centre of America had changed from Philadelphia to 
what city ? 

2. After the repression of Puritanism, and just before the 

earnestness that led to the Civil 'War, what spirit 
should we look for in the Knickerbocker School ? 

3. Who were the leaders of these minstrels? 

4. (a) In what poem does Joseph Rodman Drake show, 

even by its subject, that he was a pioneer in fancy ? 
(b) How is the scene of the poem American ? (c) 
What fanciful description does he make of fairy life ? 
(d) How does he faithfully preserve the exquisite 
scale of these minute beings ? (e) Contrast with the 
description of Queen Mab's chariot as given in Romeo 
and Juliet, Act I., Scene IV. 

5. (a) In "The American Flag" what fancy does he show 

in accounting for the American colors, and the eagle ? 
(b) How does the last stanza reiterate it? (c) What 
similarity in the lives and deaths of Drake and Keats? 

6. (a) How did Fitz-Greene Halleck embalm that seven years 

friendship with Drake ? (b) AVhat quatrain is perfect ? 

7. (a) AVhat poem of his testifies as to the interest that was 

taken in Greek liberty ? (b) What English poet died 
in helping the Greeks ? (c) What fine descriptions of 
death in its various aspects ? (d) How is its spirit 
heroic, like the ring of Campbell's " Hohenlinden "? 

8. After these Knickerbocker minstrels, what group of poets 

arose that attracted the literary centre to Boston ? 



POETS OF THE MIDDLE STATES 49 

9. But at the same time what secondary group of younger 
poets gathered in New York ? 

10. (a) Which one was well versed in the study of the 

Elizabethan drama and what use did he make of his 
knowledge ? (b) At this time what were the induce- 
ments for play writing ? (c) What play twenty-five 
years later was staged by Lawrence Barrett with great 
success ? (d) What might Boker have been had he 
lived to-day with its opportunities for the dramatist ? 

11. What musical quality in his '* Dirge for a Soldier " ? 

12. (a) How does " The Ballad of Sir John Franklin " show 

intensity of imagination ? (b) What dramatic ques- 
tioning put in several mouths marks the progress of 
the story ? (c) By what dramatic contrast of English 
scenery does he deepen the sense of cold ? 

13. (a) What Quaker poet is our great traveler? (b) What 

race adaptability did he show ? 

14. (a) In what poem does he place the scene in the Crimean 

War? (b) What three sweethearts' names does he use 
as typical of three nations? (c) How is the couplet 
at the end an artistic ending ? 

15. (a) What poem shows a charming power of narration in 

blank verse? (b) What similarity in subject to 
Balzac's tale "A Passion in a Desert " ? (c) Upon 
what intensity of feeling does the poem hinge? 

16. (a) How is the wild-fire rush secured in the "Bedouin 

Song"? (b) What phases of the desert heighten 
the picture ? (c) How does the refrain express the 
Oriental's love of the constellations and of his sacred 
Book ? (d) Compare this in virility with Shelley's 
' ' Indian Serenade. ' ' 



50 POETS OF THE MIDDLE STATES 

17. What poet does Taylor truly describe when he says, 

" In Fancy's tropic clime your castle stands " ? 

18. What lyric expresses the haunting sense of regret for 

what youth held, and what age misses ? 

19. How does ''Love and Joy" tell again that joy, like 

youth, is something that can never be held ? 

20. How does " Adsum," by imagination, see in the response 

of Colonel Newcome, Thackeray's own answer to the 
heavenly summons ? 

21. What landscape painter is better remembered by the 

word-paintings he made ? 

22. How does " Drifting" give a picture of Italy in color- 

ing, landscape features, and feeling? 

23. (a) How does "A Closing Scene" hold the same 

descriptive quality in its pictures of Indian summer? 
(b) In its m.etre and melancholy, what standard 
English elegy is suggested ? 

24. How has our best critic of nineteenth century verse 

shown in " Toujours Amour" a lyric of charming 
grace ? 

25. (a) In what unique poem does he show that even a great 

money market may furnish classic inspiration ? (b) 
By fancy what does he see in a street musician ; in an 
old soldier ; an apple woman ; the brokers ; street 
waifs? (c) What is the secret of this enchant- 
ment? 

26. (a) What poem, refined and highly imaginative, pictures 

the loss of a little child ? (b) How is the voyaging 
figure held to the very end ? (c) How is the sense of 
human loss merged in the marvel and delight at the 
child's gain ? 



POETS OF THE MIDDLE STATES §1 

27. (a) What poet can publish in artistic verse the art news 

of the day ? (b) How does he use the beauty of 
Venice and its rhythmic tide to picture Browning's 
death ? 

28. How does his " Largo ' ' express by rare choice of vowels 

the holiness of Handel's work ? 

29. (a) By what rapid allusion does he call to mind Edwin 

Booth's dramatic roles? (b) How does the end 
stamp the man great in his own personality? (c) 
What suggestion comes of the fleetingness of the 
actor's art as compared with other arts? 

30. Who has made himself a leader in the light, graceful 

French forms known as ' ' Vers de Societe ' ' ? 

31. In his "Triolet" what is the line that appears the 

required three times ? 

32. In "The Way to Arcady " how is worldly wisdom set 

against the wisdom of sentiment ? 

33. In what poem does Clinton Scollard show that he can 

catch something of the Eastern languor and coloring ? 

34. What lyric pictures just such a haunt as Charles Lamb 

would have frequented ? 

35. (a) From conventional versifiers, to what poet do we 

turn for greatest contrast ? (b) Whose poet did he 
claim to be ? (c) By irony, with whom only has he 
gained favor in both Europe and America? 

36. (a) At first sight, what is apparent in his poems as to 

rhyme, and as to the regularity of his lines ? (b) 
How is this characteristic not an invention of his own, 
but a revival of Bible lyricism ? (c) How would its 
style best lend itself to a chant such as a rhapsodist 
might make as he went from city to city ? 



52 POETS OF THE MIDDLE STATES 

37. (a) In ''Out of the Cradle Endlessly Rocking" what 

backward sweep of memory calls up a picture of him- 
self as a child? (b) How does the aria of the bird's 
song express first hai)piness, then longing, then 
despair? (c) By what massing does he project the 
bird's cry to the sea? to the moon? to the boy's 
heart ? (d) What motion -picture of the sea whisper- 
ing its secret, ends the poem ? 

38. (a) What poem is in memory of President Lincoln? (b) 

What panoramic view of the country through which 
his coffin slowly passed? (c) What cataloguing of 
American cities ? (d) What visions of the war whose 
successful issue was Lincoln's work? (e) What chant 
to death, the supreme deliverer? (f ) At the last, 
how does he fuse the multiplicity of effects he has 
used, — of lilac, star, chant, comrades, and the "wisest 
soul of all " ? (g) What shorter poem, more nearly 
a lyric than is usual with Whitman, is a lament for 
Lincoln ? 

39. (a) How does the "Mystic Trumpeter" bring up a 

kaleidoscopic pageant of the feudal world ? (b) How, 
a picture of war and wreck ? (c) How does the poet 
suffer with the enslaved and overthrown ? (d) How 
does the last strain give a vision of a future that is all 
joy and all health? (e) What large aspects of nature 
and life call out Whitman's imagination? 
.].o. Why was it that we cannot look to the West for litera- 
ture till the early sixties ? 

41. How can we account for its place of birth being in the 

Ohio valley ? 

42. With what two sisters, though bearing no distinct Western 

message, did Western poetry begin ? 



POETS OF THE WESTERN STATES 53 

43. (a) What hymn did the younger write that still keeps 

its place ? (b) What traditional picturing of Heaven 
is in it ? 

44. (a) What poem of the elder gives a simple tender pic- 

tiu-e of home life? (b) What is the one expression 
of the mother's face that must not be painted? 
45., What qualities did their melodies have that made them 
so popular ? 

46. AVhat other poetic partnership followed — this time that 

of husband and wife ? 

47. How does "After Wings " show a sense of the mystery 

of life, and strike a deeper, more artistic note than 
the Gary sisters ? 

48. (a) What distinctive Western background for "The 

Mower in Ohio" ? (b) What idyllic feeling in the 
poem ? (c) What suggestions of pioneer life ? 

49. What poet sings of the hard Western farm life — terrors 

of mortgage and foreclosure ? 

50. How does the rude sort of monologue become , almost 

dramatic ? 

51. (a) What touch of humor is suggested in the cause of 

the quarrel in " Betsy and I are Out " ? (b) What 
picturing of "■ kind neighbors " ? 

52. (a) What ballad shows a mother " thrown on the town " 

by her children? (b) How did this effect a change 
in state laws as to a v/idow's claim to her husband's 
estate ? 

53. What two poets, " though well versed in books and often 

caged in cities," are nature lyrists? 

54. How does "The Blue Bird" show a virile, fresh 

quality? 



54 POETS OF THE WESTERN STATES 

55. (a) What lyric is given from a hunter's standpoint? 

(b) What lines suggest by sound the flow of a low- 
land creek ? (c) What action in the lyric ? 

56. What secret of the Oread does Miss Thomas betray in 

"The Flute"? 

57. (a) What picturing of nature does she make eminently 

fitting for both Syrinx and Pan? (b) But what 
awakening shows that Arcadia is no more? 

58. What poet understood the heart of childhood? 

59. (a) What lyric is a lament for a lost child — a lament put 

into his playthings ? (b) What favorite nursery jingle 
that the title suggests, plays a subtle contrast, and so 
deepens the sadness ? 

60. (a) In the " Dutch Lullaby" what three little Dutch- 

men do the eyes and the head become ? (b) Under 
what delightful expedition is sleep described ? 

6 1 . (a) What poet used the Hoosier dialect to express homely, 

human nature? (b) How in "The Absence of 
Little Wesley" do the common things cry out the 
loneliness of the old grandfather ? 

62. (a) How does *' Knee Deep in June" describe June by 

its effect on the old farmer ? (b) What expression at 
the end suggests the whole-souled abandon to nature ? 

63. (a) In what ballad did John Hay express the nobleness 

that lies in these coarse, irreverent Western characters ? 
(b) In what rough language does Jim Bludsoe express 
his duty? (c) How was the safety of "Little 
Breeches" accounted for? (d) What practical view 
of the business of angels is volunteered ? 

64. With what poet did Western poetry reach the Pacific 

Slope ? 



POETS OF THE WESTERN STATES 55 

65. (a) What absolutely new field did he open and remain 

master of? (b) What poem gives a sportive squib at 
the Chinese — from a gambler's standpoint ? 

66. (a) What Californian scenery is the background of 

" Dickens in Camp " ? (b) What character of Dick- 
ens's held the camp enthralled? (c) How does this 
show that, as in "Little Breeches," "a. child shall 
lead them " ? (d) What graceful symbolism does he 
find in ' ' this spray of Western pine ' ' ? 

67. In "Twenty Years," by what subtle associations of 

sounds is a man's boyhood and faith brought back to 
him ? 

68. What relationship have the poems of Riley, Hay, and 

Harte, wdth the realistic movement as expressed in 
short stories ? 

69. What poet caught something of the Mexican romance 

that lingers in California ? 

70. (a) In "Kit Carson's Ride," what picturing of the 

desert and the expanse of prairie is given? (b) 
What dash of movement? (c) What glorying in the 
wild beauty of the Indian girl ? (d) What love of 
color ? (e) How does the swing of the lines suggest 
Byron? (f) How does the sensuous quality suggest 
Swinburne ? 

71. What does the early decline of his fame seem to indi- 

cate ? 



Unitarian- 
ism 



Transcen- 
dentalism 



CHAPTER IV 

Motional 5Eta: Ptosc ®fioasht 

Syllabus A 

Criticism of %it^ 

William Ellery Channing (1780-1842) 

Spiritual Freedom, Stedman-Hutchinson, Vol. 5, pp. 
8-10; Warner's Lib., Vol. 9, p. 3521. 

Theodore Parker (18 10-1860) 

The Real Church, Stedman-Hutchinson, Vol. 6, pp. 
514-515- 
Ralph Waldo Emerson (1803-1882) 

Nature Addresses and Lectures 

Nature : 

Nature the Minister to Man, ch. I, pp. 13-17; 
Spirit, ch. vii, pp. 65-69. 

The American Scholar : 

His duties, pp. 100-108; Importance of indi- 
viduality, pp. 113-115. 

Literary Ethics : 

The scholar's attitude to materialism, pp. 
178-180. 

English Traits 

Solidarity of the English, pp. 98-100; Common 
sense of the English mind, pp. 221-223. 

Conduct ok Life 
Wealth : 

Its necessity, pp. 87-91; Its use, pp. 122-123. 

(56) 



CRITICISM OF LIFE 57 

Transcen- LECTURES AND BIOGRAPHICAL STUDIES 

dentalism 

Character : 

Evolution of Religion, pp. 105-108; 113-117. 
Essays, First Series 

Self reliance, pp. 47-49. 
Compensation : 

Nature of the soul, pp. 1 16-122. 
Intellect : 

The Choice, pp. 318-321. 
The Over Soul, pp. 274-278. 



A. Bronson Alcott (i 799-1 J 

Emerson the Rhapsodist, Stedman-Hutchinson, Vol. 6, 
p. 21. 

Margaret Fuller (1810-1850) 

Impressions of Carlyle, Warner's Lib., Vol. 15, p. 6127. 

Evolution John Fiske (1842-1901) 
Idea of God 

Difficulty of Expressing the Idea of God, ch. i. 
The Power that Makes for Righteousness, ch. xiv. 



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CRITICISM OF LIFE 59 

<@tt«etiona on Criticism at Itite 

1. (a) Until after the revolution what had been the domi- 

nant creed of New England? (b) What contrast 
between the social condition of New England and that 
of a densely populated old world civilization ? (c) 
Why would the doctrine of ' ' human depravity ' ' seem 
thoroughly at odds with the actual conduct of New 
England men and women ? (d) Against this dogma- 
tism and narrowness of Calvinism, what religious 
movement came as a reaction ? 

2. (a) In 1805 how did Harvard College, the stronghold 

of Calvinism, pass over to Unitarianism ? (b) To 
what seminary did the orthodox party retreat ? 

3. Though Unitarianism never formulated a creed or a 

dogma, how did William Ellery Channing in "Spir- 
itual Freedom" argue for; (i) the sanctity of the 
individual conscience? (2) the liberation and dignity 
of the human mind ? 

4. How did his writings, so broad in range, graceful in 

style, and serene in temper, make toward culture ? 

5. In contrast to the serenity of Channing, how did the 

ardent nature of Theodore Parker represent more of 
the reformer ? 

6. (a) How did he use the pulpit to educate the people in 

political matters ? (b) In the "Real Church" how 
is emphasis placed upon conduct as a test of practical 
Christianity ? 

7. How did this preacher, "who smacks both of the field 

and the street," aid the progress of liberal thought in 
New England ? 



6o CRITICISM OF LIFE 

S. (a) Instead of the social disfavor which radicahsm is 
likely everywhere to suffer, what was true of the posi- 
tion of Unitarianism in New England? (b) What 
New England men of letters in the nineteenth century 
were Unitarians? 

9. (a) Into a society affected by Unitarianism, what influ- 
ences of German and French philosophy at their most 
metaphysical period were brought to bear ? (b) What 
was the effect of throwing open to the New England 
mind the wide range of modern literature, both English 
and foreign, at its most romantic period? (c) What 
significance in the warm reception of Carlyle's 
"Sartor Resartus " ? (d) How would the aesthetic 
starvation of previous generations explain the almost 
riotous delight of the New Englanders in the master- 
pieces of poetry and music ? 

10. (a) The ardent revolutionary spirit produced in New 

England by these forces is known as what ? (b) Its 
belief that man could find a divinity in his instinct, 
rather than in any revealed religion, led practically to 
what estimate of the worth of the individual man ? 

11. (a) On the continent more than a generation ago, this 

same revolutionary spirit had expressed itself in what 
excesses? (b) In England it had expressed itself in 
what outburst of literature ? (c) That it should express 
itself in New England as an aspiration for the "con- 
duct of life ' ' shows what native tendency of the 
Yankee mind ? 

12. As a result of this fusion of Unitarianism and Transcen- 

dentalism, the most remarkable literary expression 
America has vet made was in what section ? 



CRITICISM OF LIFE 6i 

13. Who was the most eminent figure among the Transcen- 

dentalists, if not in all the literary company of 
America ? 

14. (a) How does his first book, " Nature," put forth from 

the Old Manse, show that "in the woods we return to 
reason and faith " ? (b) On pp. 66, 67, what answer 
does he make to the question : ' * Whence is matter, 
and whereto " ? (c) What practical application does 
he make of this answer, as to the upbuilding of char- 
acter ? 

15. (a) In "The American Scholar" what principle does 

he say should animate the brain of America? (b) 
Why was Holmes's characterization of it as our 
"Intellectual Declaration of Independence" happy? 

16. In "Literary Ethics" what does he state the attitude 

of the scholar should be toward money-getting ? 

17. (a) In what book, with alert shrewd penetration, did he 

show the phenomena of English life as traced back to 
the character of its race ? (b) How did he explain 
the secret of England's power? (c) What effect has 
the common sense of the English mind had on English 
literature ? 

18. (a) In " Conduct of Life " with what practicality does 

he show wealth to be necessary to each man's inde- 
pendence and integrity ? (b) How should a man use 
his capital to secure the best interest ? 

19. How does his " evolution of religion " show that he felt 

each new clothing of the race's moral aspiration to be 
an ethical advance ? 

20. How does "Self Reliance" teach the doctrine that 

individuality is the only means of growth ? 



62 CRITICISM OF LIFE 

2 1. What compensation in the nature of the soul does he 
find for: (i) inequalities of intellectual capacity? 
(2) inequalities of material condition? (3) calam- 
ities ? 

22. (a) To every intellect, Emerson says, God offers the 

choice of what two things ? (b) If the higher choice 
be made what will be the process of intellectual 
growth ? 

23. (a) How does the " Over Soul " tell of the mystic union 

of the individual man with God ? (b) How does it 
express : ( i ) " That man is liere to be worked upon' ' ? 
(2) That the greatest man is he who has most fully 
surrendered to the soul influx of Deity ? 

24. How does the keynote of all his prose show him to be a 

living prophet of individualism — that dominating 
principle in American literature ? 

25. How is Emerson's literary style marked by (a) terseness 

in sentence construction; (b) richness of epigram; (c) 
diction both rich and homely; (d) at times a rare 
felicity of phrasing; (e) unusual stimulating power ? 
(f ) How may his lack of logical sequence in an essay 
be explained by his habit of composition ? 

26. If Emerson combined ideality and practicality, what 

other Transcendentalist in Concord lacked his saving 
grace of good sense ? 

27. How in him were the Emersonian characteristics of 

originality and individualism extended to eccentricity 
and grotesqueness ? 

28. What v/ild reforms did he inaugurate? 

29. How did Emerson's principle of self-trust become in him 

inordinate self-esteem ? 



CRITICISM OF LIFE 63 

30. How does "Emerson as a Rhapsodist " show Alcott's 

overstrained rhetoric ? (a) What wild commingling of 
imagery taken from music, dancing, the heavens, and 
Greek poetry? 

31. (a) In 1 84 1 what periodical did the Transcendentalists 

establish which offered freedom of speech to every one 
on any topic ? (b) How did the choice of a woman 
as first editor show a departure from traditional customs? 

32. How does Margaret Fuller's learned girlhood, solitary 

life, and burning zeal suggest Mrs. Browning ? 

33. In a letter to Emerson, how does one read in a parable 

the story of their friendship? (Memoirs of Margaret 
Fuller, by Emerson, Channing, and Clarke, Vol. i, 
pp. 289-291.) 

34. (a) How was she the first to carry the Transcendental 

interest outside of New England ? (b) How did she 
apply it to her literary work on the Tribune ? 

35. (a) In her " Impressions of Carlyle " how does she use 

a German hero's name to characterize Carlyle? (b) 
How is this significant of new fields of literature flung 
open by the Transcendentalists? 

36. (a) Like Mrs. Browning, into what cause of liberty did 

she throw herself ? (b) What is the story of her 
tragic death ? 

37. Though leaving practically nothing in literature, how did 

her influence help on the cause of woman's intellec- 
tual freedom in America ? 

38. (a) Transcendental principles also expressed themselves 

in what effort to reform the structure of society ? (b) 
What romance of Hawthorne's was made possible by 
this socialistic experiment? 



64 CRITICISM OF LIFE 

39. The same principles expressed themselves in what impor- 

tant reform movement in politics? 

40. Since the increase in scientific knowledge, what writer 

has aimed to reconcile science and religion ? 

41. In " Destiny of Man" how did he apply the evolutionist 

argument to a proof of personal immortality ? 

42. (a) In the " Idea of God " how does he use the ques- 

tions Marguerite asked Faust about religion, as a happy 
beginning for his discussion ? (b) How does he show 
that with the increase of knowledge of the universe 
there may come a deeper faith in " God as a moral 
being"? 

43. Although the principles of Unitarianism, Transcenden- 

talism, and Evolutionism have been opposed to Trini- 
tarian doctrines, yet how does each show that American 
thought remains true to the ideas of God and immor- 
tality ? 



Syllabus B 
Criticism of Badctg 

Ne'w Oliver Wendell Holmes (1809-1894) 

England 

Society AUTOCRAT OF THE BREAKFAST TABLE: 

Mutual admiration society, pp. I-5; Seven wise 
men of Boston, pp. 124-127; Aristocracy, pp. 
259-261; Yankee expressions, p. I09; In- 
sanity, p. 42; The three Johns, pp. 52-54; 
Suggestion by odors, pp. 75-79; Violins and 
meerschaums, pp. 101-105. 

Professor at the Breakfast Table: 

Skit on total depravity, pp. III-I13; Manners, 
pp. 138-145; Lean environment of New Eng- 
land, pp. 244-249. 

Poet at the Breakfast Table: 

The Old Master, pp. 41-43; Scarabee, the spe- 
cialist, pp. 43-51. 

Elsie Venner : 

Pigwacket and the district school, ch. iii; Apolli- 
nean Female Seminary, ch. iv; The Sprowles' 
Reception, ch. vii. 

New York Charles Dudley Warner (1829-1900) 
Wealthy ^ ^ „. 

Class Little Journey in the World : 

Henderson founds a university, pp. 334-345 5 The 
new house, pp. 350-361 ; The reception, pp. 
362-383. 

(65) 



66 CRITICISM OF SOCIETY 

New York ^j^j. QoldeN House : 

Wealthy 

Class Death of Henderson, pp. 272-287. 

In the Wilderness : 

A-Huntingof tlieDeer,\Varner,vol. 8, pp. 449-456. 

American Edward Bellamy (1850-1898) 

Democ- 
racy Equality: 

A Sharp Cross-examiner, ch. i; Parable of the 
Water-Tank, ch. xxiii. 



CRITICISM OF SOCIETY 67 

<@tt«stion» on CHticisnt of Soei«tg 

In what series did Dr. Holmes make his shrewd, volatile 
wit present a criticism of New England society ? 

What did the criticism gain from the fact that he was 
nearly fifty before he made it ? 

(a) How does his frank picturing of Yankee narrowness 
in intellectual and religious matters, and her provin- 
cialism, make a good fight against illiberality? (b) 
How does his love for Nev/ England show that he cuts 
only to cure ? 
(a) In the "Autocrat" v/hat defence of mutual admira- 
tion society is made ? (b) What suspiciousness does 
a narrow intellect always show ? (c) What wise 
man's witticism embodies a Bostonian's pride in his 
city ? (d) How does the Autocrat defend this local- 
ism? (e) What does he say New England aristocracy 
is based -on? (f) What good transformation in the 
race may it make? (g) What tell-tale phrases show 
New England's offences in social and aesthetic matters ? 
(h) What discredit does he cast on people who hold 
Calvinistic doctrines and yet keep sane ? (i) How 
does the theory of the * ' Three Johns ' ' teach a kindly 
tolerance in conversation ? (j) What pictures of 
humor and pathos are suggested to him by the odors 
of phosphorus, marigold, and everlasting? (k) By 
what fancy are violins and meerschaums linked with 
poetry ? 

(a) How does the Professor use the efficacy of calomel 
in the creed of a supposed medical society to make a 
skit on Calvinistic doctrine? (b) What gentle 



68 CRITICISM OF SOCIETY 

scourging of bad manners and insufficient breeding 
does he make? (c) What leanness of life does he 
find in our " Western Eden " ? 

6. How does the Poet contrast the liberal scholarship of 

the "Old Master" with the narrow specialism of 
' * Scarabee ' ' ? 

7. (a) In " Elsie Venner " what pictures are drawn of the 

salubrity of an inland New England town in the early 
fifties, and the roughness of its district school? (b) 
What skit upon the New England seminary, its prin- 
cipal, management, and course of study? (c) What 
skit in the " Sprowles' Reception " upon the new rich, 
the exhausting preparations, the solemnity of the 
sociality, the novelty of shell -oysters and ice-cream ? 

8. How does the half-dramatic essay form of the "Break- 

fast Table Series," and its aim to reform society, 
suggest the eighteenth century ' ' Spectator ? ' ' 

9. How do the sentiment, and pathos, and dashes suggest 

the methods of the eighteenth century Sterne ? 

10. (a) How does Holmes's whole work embody the best 

expression of rationalism in American men of letters ? 
(b) How are his writings saturated with the essence 
of Boston New Englandism, — the Boston of the mid- 
dle of the nineteenth century ? 

11. In what books did Charles Dudley Warner embody his 

criticism of the New York wealthy class ? 

12. (a) What hint does he give as to the selfish motives of 

Henderson's philanthropy ? (b) What suggestion as 
to the weak places in fashionable charities? (c) How 
is the worship of materialism shown in the building of 
the new house? (d) How made plain in the open- 



CRITICISM OF SOCIETY 69 

ing reception ? (e) What suggestion that in such an 
existence Margaret's nature was hardened? (f) What 
hint that Henderson lost capacity for some of the 
finer instincts of his earlier manhood ? 

13. How does "A-Hunting of the Deer " suggest the cruelty 

of a fashionable sport ? 

14. In what book does Edward Bellamy make a criticism of 

American society as based upon the democratic idea ? 

15. AVhat picture does the "Parable of the Water-Tank " 

draw of the rich and poor ? 

16. (a) How does the "Cross-examiner" bring out that 

though the government is by the people it is only so in 
name ? (b) How does she show that the people 
use what energy they have to rivet their own chains ? 



Pioneer 
Critic 



Foremost 
Critic 



Foremost 

Critic of 

Victorian 

nnd 

American 

Poetry 



Syllabus C 
Cttficism of IC^ttcts 

Edwin P. Whipple (1819-1886) 
Essays and Reviews, Vol. I: 

On Richard Henry Dana, pp. 46-52. 
Literature of the Age of Elizabeth: 

On Shakespeare, pp. 32-41. 

James Russell Lowell (1819-1891) 
Literary Essays: 

Dante, Vol. 4, pp. I18-12I; 174-175; 236-237. 
Chaucer, Vol. 3, pp. 321-326; 363-366. 
Shakespeare, Vol. 3, pp. 40-43; 56-59; 87-90. 
Milton, Vol. 4, pp. 99-103; 114-117. 
Dryden, Vol. 3, pp. 129-133; 1S8-191. 
Gray, Vol. li, pp. II-14; 31-32; 38-41- 
Wordsworth, Vol. 4, pp. 401-403; 412-415. 
Keats, Vol. i, pp. 242-243; 244-246. 
Lessing, Vol. 2, pp. 190-191; 229-231. 
Thoreau, Vol. I, pp. 370-372; 374-379- 

Edmund Clarence Stedman (1833- ) 
Victorian Poets: 

Outline of proposed survey, pp. 4-7. 
Tennyson the idyllist, pp. 182-189. 
Summary of his work, pp. 199-200. 
Browning the psychologic, pp. 320-323. 
His relation to his period, pp. 432-434. 

(70) 



CRITICISM OF LETTERS 



71 



Foremost 

Critic of 

Victorian 

and 

American 

Poetry 



Popular 
Critic 



American Poets: 

Rise of the home school, pp. 28-30. 
Whittier as a national poet, pp. 96-100. 
Whitman as a nature poet, pp. 379-383. 

American Anthology: 

Review of the American school; Introduction, pp. 
xxii-xxiv. 

Forecast of the future of American poetry; Intro- 
duction, pp. xxxiii-xxxiv. 

Hamilton Mabie (1845- ) 

Essays in Literary Interpretation: 

Dante Gabriel Rossetti — men who influenced him, 

pp. 79-80. 
• The King's Tragedy, pp. 85-86. 
Rossetti's place, pp. 91-98. 
Robert Browning — his relation to his time, pp. 

103-106. 
Principles in art poems, pp. 124-128. 
The possibility of a new type of literary expression, 

pp. 134-136- 



72 CRITICISM OF LETTERS 

4|^ueatiou9 on Criticism of Cetter« 

1. How does our pioneer critic mark the type in criticism, 

— the ' ' showman ' ' sort that displays his authors ? 

2. (a) How does his estimate of Charles Dana as a poet 

show the provincial tendency to make too much of our 
native writers ? (b) How do the other character- 
istics of "showman " criticism, enthusiasm and won- 
der, predominate in his criticism of Shakesi^eare ? 
(c) How does it illustrate our youthful attitude toward 
the riches of Old World literature ? 

3. How does James Russell Lowell's ripe scholarship in both 

ancient and modern literature make possible a method 
of criticism by comparison ? 

4. (a) How does his critical work consist almost wholly of 

individual studies rather than a philosophic view of 
literary history ? (b) Yet how does the range of these 
individual studies give something of a comprehensive 
view of literature ? (c) How does his exquisite gift 
of appreciation, and his faculty for applying ideas to 
life, make him, though not a philosophic critic, our 
greatest one? 
5. (a) How does the painting of Dante's environment serve 
as an introduction to the essay ? (b) How do the 
times explain Dante's use of revolting types? (c) 
Why may the Divine Comedy suggest a Gothic cathe- 
dral? (d) How did Longfellow use this suggestion in 
his sonnets on the Divine Comedy ? (e) What seat 
would Lowell give Dante in the company of epic poets ? 
6. (a) In Chaucer what characteristics of two races are to 
be seen? (b) How is his satire contrasted with 



CRITICISM OF LETTERS 73 

Dante's ? (c) Hov/ does his breadth of humanity- 
place him by Homer ? 

7. ,(a) How is Shakespeare's creative imagination contrasted 

with the pictorial one of Milton ? (b) Where does 
the motive of the Shakespearean tragedy lie, as com- 
pared with the motive in a Greek tragedy ? (c) How 
is Shakespeare too much of an artist to be a deliberate 
moral teacher ? 

8. (a) How does Lowell explain the feeling of vastness 

produced in the poetry of Milton? (b) Why does 
Milton rank as the most uniformly self-conscious great 
poet? 

9. (a) How does Dry den's prose show the best specimen 

of everyday style English literature has ? (b) Why 
does the phrase ' ' Great Cleopatra in a hackney 
coach ' ' characterize his poetry ? 

10. (a) In the Gray essay, what resume does Lowell give of 

our debt to the eighteenth century ? (b) How is 
Gray a rare combination of genius and dilettanteism ? 
(c) How could he glorify the commonplace ? 

11. (a) Where does Lowell judge Wordsworth most success- 

ful as a poet ? (b) What are his claims to a secure 
immortality ? 

12. (a) How did KeafS help English poetry to recover her 

inheritance ? (b) In what way do Keats' s poems mark 
an epoch in English poetry ? 

13. How is Lessing's position in Germany made plain by 

comparisons with Dr. Johnson ? 

14. (a) How does Lowell's subtlety find in Thoreau's *' itch 

of originality," intellectual selfishness? (b) In 
Thoreau's seclusion what savor of egotism is shown? 



74 CRITICISM OF LETTERS 

15. Find examples of Lowell that show his style to be 

characterized by (a) richness of allusion that makes 
his full enjoyment an evidence of a liberal education ; 
(b) an exuberance of imagery ; (c) humor that 
gives a freshness to his work much appreciated by 
English readers. 

16. (a) How did the general acceptance of evolutionary 

principles at the time when Edmund Clarence Sted- 
man began his critical work, make it possible for him 
to apply these evolutionary principles to literature? 
(b) How would this conception enlarge the bases of 
criticism used by Lowell ? 

17. To this scientific method, what equipment as a scholar 

and a poet could he add ? 

18. What four volumes of his mark the most important body 

of systematic, serious criticism thus far produced by 
an American ? 

19. (a) In the "Victorian Poets" what characteristics of 

the last half-century lead Stedman to consider it as a 
distinct epoch in English poetry ? (b) What names 
illustrate these successive poetic phases? (c) Why 
does he think it necessary to make reference to the 
conditions of the period ? 

20. (a) In what respect is Tennyson greatest of the modern 

poets ? (b) What points of resemblance between Pope 
and Tennyson? (c) What might each poet have 
become with the other's environment ? (d) How w;is 
the complexity of Tennyson's art made possible ? 
(e) How is he an idyllist ? (f) In what ways is he 
the fullest representative of the Victorian Age? 

21. (a) How was Browning the founder of a new "life- 



22. 



23 



CRITICISM OF LETTERS 75 

school " ? (b) Why is '' Men and Women ' ' his most 
representative work? (c) How does he reflect the 
introspective science of the age? (d) How does he 
illustrate an exceptional law: that genius may create 
its own environment ? 

In "American Poets" what three factors does Stedman 
regard as bringing about the rise of the American 
school of poetry? 

(a) Why is the national type in America so far only 
locally realized? (b) In what respect may Whittier, 
who is really a poet of New England, be said to be 
national ? 

24. (a) How is Whitman a poet of nature,— with the details 

massed, blended ? (b) What power of imagination 
does he -show ? (c) What suggestion that his new 
message may need his form of verse ? 

25. (a) Standing on the threshold of the twentieth century, 

what shows Stedman that the American school of 
poetry has been the utterance of the emotions of a 
people? (b) Judging by the laws of literary evolu- 
tion, what does he predict will follow the present 
twilight interval ? (c) What conjecture as to the form 
of the American poetry of the future ? 

26. (a) How is the criticism of Hamilton Mabie, though 

scientific in method, addressed more especially to the 
general reader? (b) Why is it well calculated to 
carry on university extension work in literature ? 

27. (a) What men influenced Dante Gabriel Rossetti, and 

why would he respond to them? (b) What qualities 
does " The King's Tragedy " show that place it in the 
front rank of modern dramatic verse ? (c) Why is 



76 CRITICISM OF LETTERS 

Rossetti not an interpreter of his age ? (d) What 
was his attitude toward (i) beauty and (2) love? 
28. (a) How does Browning show his relation to his age ? 
(b) How do his art poems embody the evolutionary 
conception of life, — always struggling? (c) What 
suggestion that Browning's style may come from the 
new form of literary expression demanded by a new 
thought of Nature and Man ? 



United 
States 
through 
Colonial 
and Revo- 
lutionary 
Periods 



national 3Era: pto$^ ^h^ugfit 

Syllabus D 

George Bancroft (1800-1891) 

History of the United States: 

Battle of Lexington, Vol. IV., ch. 10, pp. 155-166; 
Stedman- Hutchinson, Vol. 6, pp. 10-12. 



Spain in 

the 

Americas 



William Prescott (1796-1859) 
Conquest of Mexico: 

The Battle of Oturaba, Vol. II., Bk. 5, ch. 4, pp. 
393-403; Carpenter, pp. 175-180. 



The Dutch John Motley (1814-1877) 
against 

Sp^*" Dutch Republic: 

The Relief of Leyden, Vol. II., pp. 568-582;. Car- 
penter, pp. 330-337. 



France 

versus 
England in 
North 
America 



Francis Parkman (1823-1893) 
The Conspiracy of Pontiac: 

Capture of Quebec, Vol. I., pp. 126-14I; Carpen- 
ter, pp. 444-450- 



United 
States by 
Epochs 



John Fiske (1842- ) 

The Discovery of America: 

First Voyage of Columbus, Vol, I., pp. 419-449. 
(77) 



78 



HISTORY 



United 
States 
through 
Jefferson's 
and Mad- 
ison's 
Adminis- 
trations 

United 
States 
from 
Missouri 
Compro- 
mise to 
Present 
Time 

United 
States 
from End 
of Revolu- 
tionary 
Period to 
End of 
Civil War 



Henry Adams (1838- ) 

History of the United States: 

Character of America, Vol. IX., ch. 10, pp. 219- 
241; Warner's Lib., Vol. I., pp. I17-123. 

James F. Rhodes (1848- ) 

History of the United States: 

Withdrawal of Southern Senators, Vol. III., pp. 
271-281. 

John Bach McMaster (1852- ) 

History of the People of the United States: 

The Post-Office and Modes of Travel, Vol. I., pp. 
39-55- 



HISTORY 79 

<|}uis@tiatt$ on Sriistort} 

1. Although up to 1830 there had appeared no history of 

America that could be read as a classic, what founda- 
tions were laying, in the way of letters and documents, 
for some historian ? 

2. Who Mas the man that, inspired by the national spirit 

beginning distinctly to be felt after the War of 181 2, 
built upon these foundations a new conception of 
history ? 

3. How many years was he at work on this history, and 

what was its scope ? 

4. What opportunities for a collection of historical mate- 

rial did his training, wealth, social position, and polit- 
ical experience give him ? 

5. Why does his avo'.ved object in writing '' to justify his 

fathers for the Revolution ' ' make his history a partisan 
one ? 

6. How did his sympathy with the an ti -Federalist party 

make his history partisan in politics ? 

7. Why is it unfortunate for his permanent fame that a con- 

siderable part of his work has no foot-notes giving his 
authorities ? 

8. (a) In his account of the Battle of Lexington, what 

rhetorical summary on pp. 156, 157 of the "fore- 
runners of the village heroes"? (b) How does his 
style suggest the oratorical style of fifty years ago ? 

9. By William Prescott's choice of a historical subject what 

mark of the growth of cosmopolitanism is shown ? 
[o. How does this subject show the starved American imagi- 
nation stimulated by a romantic European past ? 



8o HISTORY 

1 1 . What was the scope of his work ? 

12. What connection between this subject and the earher 

phases of American history ? 

13. In spite of what physical obstacles did he write? 

14. (a) In "The Battle of Otumba," how does the picture 

of the Aztec civilization illustrate the brilliant quality 
of his style ? (b) How does the account of the close 
of the battle show the dignified balance of his 
sentences? (c) Why does the interest his books 
aroused in the reading public, suggest something of the 
popularity of his contemporary, Macaulay ? 

15. How does the imperfect knowledge of American archae- 

ology at the time of Prescott's writing affect the value 
of his work as an authority ? 

16. How is the cosmopolitan tendency again illustrated in 

John Motley's choice of a subject? 

17. Why is his intense sympathy with the Dutch struggling 

for political rights, characteristically American ? 

18. How does his strong feeling lead him, like Carlyle, to 

centre his history in hewism ? 

19. (a) What vivid picture does he draw of famine-stricken 

Leyden ? (b) Of the sea -battle on submerged 
orchards ? (c) How is the flight of the Spaniards 
worked up dramatically ? 

20. How does this ability to fuse facts into a living picture 

suggest more the describer of heroic deeds, than the 
scientific historian ? 

21. What splendid plan of a history did Francis Parkman, 

our greatest historian, form at the age of eighteen ? 

22. (a) What preparation did he make for accuracy and truth 

in dealing with Indian allies of France? (b) What 



HISTORY 8i 

for an understanding of the Catholic missionaries of 
New France? 

23. What bearing had Parkman's theme upon our national 

history ? 

24. (a) In the " Capture of Quebec " how does the v/hole 

account show the charm of his narrative style ? (b) 
How does his description of the heights, the plain, 
the town, have the accuracy of an eye-witness? (c) 
What sympathy is shown with both sides ? (d) What 
philosophic hint is given that in the English victory 
lay the possibility of American independence? (e) 
What literary sensitiveness is shown in the portrayal 
of the personality of Wolfe ? 

25. What physical disabilities delayed the completion of 

Parkman's work till 1885 ? 

26. How does his greatness as a historian illustrate the rare 

union of patient scholarship, philosophic habit of mind, 
and something of the poet to re-create a vanished 
past ? 

27. (a) How do the traditions with which he began his work 

link him with the older school of historians ? (b) 
How does the scientific spirit and scholarship of his 
work make him the model of the new school ? 

28. (a) How is the older school of historians made up of 

men of private means, who had time and money to 
collect their own materials? (b) Which of them 
were honored by diplomatic positions in which to 
pursue their investigations ? 

29. After the Civil War, the new sense of the dignity of our 

American institutions had what effect upon the courses 
in history offered in our colleges ? 



82 HISTORY 

30. Froin the growth of this scientific instruction, the newer 

school of historical writers that has developed has its 
chief interest in the affairs of what country ? 

31. In general, the names of the members of the new school 

show what connection between active college work and 
writing history ? 

32. How does the selection of a special field by each man 

illustrate the scientific method ? 

33. How does John Fiske's " Discovery of America" show 

a knowledge of authorities and of archseology likely 
to keep the work authoritative ? 

34. (a) How does the charm of his style give the first voyage 

of Columbus all the fascination of a new story ? (b) 
How does he make plain the (juaint notions of geog- 
rapliy that swayed the minds of the great discoverers ? 
(c) How does he show that the increase of geograph- 
ical knowledge gained by this first voyage was too 
great and rapid to be comprehended at once ? 

35. How does the naturalness and buoyancy of his style 

make his histories interesting even to readers who can- 
not appreciate the philosophy contained in their 
pages ? 

36. What two opi^osed administrations are the chosen field 

for the historical work of Henry Adams ? 

37. (a) In his "Character of America," why, as late as 181 5, 

was the division of the United States into several 
nationalities still thought to be possible ? (b) In 181 7 
what divergence from older societies was well defined 
in American unity? (c) How does antipathy to war 
rank first in American political traits? (d) How did 
the superior average intelligence of the American 



HISTORY 83 

account for successes on land and sea? (e) What 
un-English rapidity of movement in the American 
character? (f ) What disposition to relax severity? 

38. What three traits, at the close of the War of T812, 

seemed fixed in the American character ? 

39. How does Adams show a power to mass minute details, 

in discerning the guiding principles of national char- 
acter ? 

40. How is his style marked by crisp sentence construction 

and liuninous statement ? 

41. How does James Rhodes show the intellectual forces that 

lie outside the college connection ? 

42. (a) What is to be the scope of his work ? (b) How does 

his chosen field test, to the highest degree, the qualities 
of insight and fairness of a historian ? 

43. How does his special use of the press as authorities 

tend to reveal the living spirit of the time under con- 
sideration ? 

44. (a) In his account of the secession movement, what 

spirit was conspicuous in Jefferson Davis's farewell to 
the senate ? (b) How does Rhodes disprove the 
"conspiracy theory" as to the secession of the South? 
(c) What proof does he find from Southern conven- 
tions that slavery was the sole cause of the war ? 

45. How does Rhodes' s ability to handle this period of 

passionate stress prove him to be an historian in no 
sense local or partisan ? 

46. What is to be the scope of John Bach McMaster's work ? 

47. (a) How does its title suggest his democratic aim? (b) 

What historian, with the same aim, wrote a history of 
the English people ? 



84 HISTORY 

48. (a) What picture of the post-office system in Colonial 

times? (b) The insecurity of the mails led public 
men to adopt what system of writing? (c) What 
accounts of the difficulties of traveling by coaches, 
ferry-boats, and packets are given ? 

49. How does his simple, clear style make him a popular 

historian ? 

50. What is the hopeful outlook for the American school of 

historical writing ? 



Leader of 

State 

Rights 

The Pacifi- 
cator 



The 
Unionist 



The Con- 
servative 



Anti- 
Slavery 
Leaders 



;rhe Plain 
Speaker 



Syllabus E 

John Calhoun (i 782-1 850) 

State Rights, Warner's Lib., Vol. 7, pp. 3094-3097. 

Henry Clay (1777-1852) 

Attitude of South Carolina, Stedman-Hutchinson, Vol. 

4, pp. 364-366. 

« 
Daniel Webster (1782-1852) 

• Reply to Hayne, Carpenter, p. 109; Stedman-Hutch- 
inson, Vol. 4, pp. 464-467; Warner's Lib., Vol. 
38, pp. 15744-15746. 

Edward Everett (1794-1865) 

Emigration of the Pilgrim Fathers, Stedman-Hutchin- 
son, Vol. 5, pp. 330-331 ; Warner's Lib., Vol. 14, 
pp. 5607-5609. 



Wendell Phillips (i8ii-i{ 

Toussaint I'Ouverture, Stedman-Hutchinson, Vol. 7, pp. 
66-68; Warner's Lib., Vol. 29, pp. I1412-I1416. 

Charles Sumner (1811-1884) 

The True Grandeur of Nations, Warner's Lib., Vol. 36, 
pp. 14231-14233. 

Abraham Lincoln (1809-1865) 

Gettysburg Address; Second Inaugural Address, Car- 
penter, pp. 264-267; Warner's Lib., Vol. 23, pp. 
9074-9076. 

(85) 



86 ORATORY 

Pulpit Henry Ward Beecher (1813-1887) 

Orators 

The Gospel of Democracy, Warner's Lib., Vol. 4, pp. 

1735-1737- 
Phillips Brooks (1835-1893) 

Personal Character, Warner's Lib., Vol. 6, p. 2421; 
Courage of Opinion, Warner's Lib., Vol. 6, p. 
2422. 

Occasional 

Orator George William Curtis (1824-1892) 

The Puritan Spirit, Carpenter, pp. 427-432. 



ORATORY 87 

<^ucstians on ^rafortj 

1. From the War of 181 2 to 1852 the United States Senate 

became the battle ground for what vital issues? 

2. The intense eagerness with which the nation watched the 

struggle would lead the combatants to put forth what 
efforts ? 

3. In the school of orators developed, who was the 

leader of the States-Rights party? (a) How does his 
speech show that no one could better argue the rights 
of a minority ? (b) What relentlessness of demon- 
stration shows war to be the final outcome if state- 
rights be disregarded ? 

4. How does his style show (a) a passionless logic ; (b) 

the power of a practical intellect, untouched by any 
imagery ? 

5. In contrast to the sectionalism of Calhoun how does 

Henry Clay's life-long effort to keep the peace show 
that a Southerner could be national in feeling? 

6. How must the " Compromises " be a monument to the 

effect of his oratory ? 

7. How does the speech on the attitude of South Caro- 

lina show that the power of his oratory lay rather 
in his personal magnetism than in the words he 
uttered ? 

8. What physical equipment for a great orator had Daniel 

Webster ? 

9. (a) In his " Reply to Hayne " what arguments prove 

the illegality of state resistance ? (b) What arguments 
show that i>ower of sovereignty lies not in the states, 
but in the people ? (c) What review of the debt owed 



88 ORATORY 

to the Union? (d) What splendid vision of his ideal 
of the Union closes the address ? 

10. How is his intense earnestness proved by the fact that 

the speech, read to-day, stirs the blood ? 

11. How is it, judged by its grace of diction, beauty of 

imagery, march of thought, and sublimity of passion, 
perhaps the greatest recorded specimen of human 
eloquence ? 

12. How does the majesty and nobility of his style always 

suggest the Roman ? 

13. In the perfect balance and proportion of physical, mental, 

and emotional attributes found in his personality, what 
rank does he take as an orator ? 

14. What orator stands for the academic, conventional type, 

who completely represents the culture of Boston ? 

15. In his "Emigration of the Pilgrim Fathers," how does 

his vision of the Mayflower show consummate rhet- 
oric: ( I ) in the imagery ? ( 2) in the alternation of long 
and short sentences ? (3) in the figure of interrogation ? 

16. How does the entire matter seem planned for graceful 

gesture and musical intonation ? 

17. How does he close the school of formal oratory? 

18. Of the newer school, what fervid orator sacrificed a 

brilliant social career to the anti -slavery cause ? 

19. How is his characteristic ability to put himself on good 

terms with a hostile audience illustrated by his first 
speech in Faneuil Hall ? 

20. How is his characteristic consummate adroitness illus- 

trated in his making a dignified, conservative audience 
at Harvard College applaud the assassination of the 
Czar before they knew what they were doing ? 



ORATORY 89 

21. In " Toussaint I'Ouverture" what finished phrasing 

pictures the fames of Napoleon and Washington ? 

22. How does the whole address show an impassioned moral 

belief in the capacity of the negro ? 

23. What other Bostonian brought upon himself social ostra- 

cism by adopting the anti-slavery cause ? 

24. Entering the Senate as the successor of Daniel Webster, 

how does his whole career show him a devoted 
advocate of the ideal rights of man ? 

25. How dose the virulence of his personal invective, and 

the brutality of the blow by Brooks, show how far 
apart Northern and Southern temper had diverged ? 

26. How does " The True Grandeur of Nations " illustrate 

the impressive dignity of his style when not on aboli- 
tion subjects? 

27. How does Abraham Lincoln's oratory show a marked 

simplicity ? 

28. How does his style in the " Gettysburg Address " and in 

the "Second Inaugural Address" show unique con- 
densation of thought : (i ) by the absence of any super- 
fluous detail? (2) by a veiled antithesis that shows 
he has considered both sides of the question ? 

29. How is his style marked by a felicity of expression shown: 

(i) in ease of conscious power? (2) in the cadences 
that incorporate the sublimity of the Bible? (3) in 
the terse diction that surcharges emotion ? 

30. How is the secret of his power that of Burns: " He held 

the key of the life of the people ' ' ? 

31. In the pulpit oratory of Henry Ward Beecher, how does 

the sermon, " Gospel of Democracy," show his style 
to have the freedom of a personal conversation ? 



90 ORATORY 

32. What short sentence structure is noticeable? 

33. What appeal to the practical common sense of men is 

made ? 

34. Hou' is the test of his power well shown by his ability 

to hold so large and heterogeneous an audience as the 
Plymouth Church ? 

35. In contrast to Beecher's oratory, how does that of Phillips 

Brooks, in the selections given, show a rushing impet- 
uosity of style ? 

36. How is this marked in the longer sentences used ? 

37. How is his appeal purely to the spiritual consciousness 

of man? 

38. Who was the master of "occasional oratory"? At 

the unveiling of what statue in Central Park, New 
York, in 1885, did he give the selected address ? 

39. How does it show an inheritance of the "conversa- 

tional style ' ' of Wendell Phillips ? (a) How does 
its rapidity suggest the impassioned quality of an 
orator ? 

40. How does its grace fail to hide the strenuousness back 

of it — the appeal to the civic sense of Americans ? 



national 3Eta: Prose ^^ciugfit 

Syllabus F 
3Iafur« Stafties 

Hermit of Henry David Thoreau (1817-1862) 
Walden 

Walden: 

Building a home, pp. 45-50; Personal aims, pp. 
98-101; 105-107, or Carpenter, pp. 348-351; 
Sounds at evening, pp. 133-139, or Carpenter, 
PP- 351-353; Solitude, pp. 140-145, or Car- 
penter, pp. 353-355; Battle of the ants, pp. 
246-249. 

A Week on Concord and Merrimac Rivers: 

A Village Festival, pp. 357-360; Carpenter, pp. 
346-351- 
Winter : 

An icy morning, pp. 84-91 ; Death of a tree,, pp. 
63-65. 
Excursions: 

On walking, pp. 161-165; Wildness of nature, pp. 
185-189; Spaulding's farm transformed, pp. 
207-209. 

Summer: 

Bird notes, pp. 330-331. 

"John of John Burroughs (1837- ) 
Birds " 

Fresh Fields: 

English woods — a contrast, pp. 39-43; 47-4S; 
Hunt for a nightingale, pp. I10-119. 

(91) 



92 



NATURE STUDIES 



"John of 
Birds " 



Discioles 
of 

Burroughs 



"Olive 

Thorne 
Miller " 



"Animal 
biog- 
rapher" 



Wake Robin: 

Song of the thrush, pp. 59-61; Whir of the part- 
ridge, pp. 75-77; Trick of the cow-bunting, 
pp. 70-72; Coming of the robin, pp. 14-16; 
Song of the vesper-sparrow, pp. 24-25; A 
snake-robber, pp. 37-40. 

William Hamilton Gibson (1850-1896) 

Sharp Eyes: 

Queer fruit from a bee's basket, pp. 114-I16; The 
grouse on snow-shoes, pp. 265-267. 

My Studio Neighbors: 

A tragedy in the bug world, pp. 58-68. 

Bradford Torrey ( 1843- ) 
The Foot- Path Way: 

Human nature of plants, pp. 208-215; ^ pin^ 
forest, pp. 237-242. 

*■ 
Frank BoUes (i 856-1 894) 

From Blomidon to Smoky: 

The penalty of being a man, pp. 219-222; Indi- 
viduality in birds, pp. 228-236. 

At the North of Bear Camp Water: 

A night alone on Mt. Chocorua, pp. 75-8l- 

Harriet Miller (1831- ) 

Little Brothers of the Air: 

A June round of calls, pp. 130-137; A comical 
crow baby, pp. 236-243. 

Ernest Seton-Thompson (i860- ) 
Wild Animals I Have Known: 

Story of the Springfield fox, pp. 185-225. 



NATURE STUDIES 93 

C^uestions on Stafnvi^ Bttud{e« 

1. What was the parentage and education of Henry 

Thoreau ? 

2. What has proved the remarkable posthumous reputation 

of this man, who, dying at forty-four almost unknown, 
had published only two books ? 

3. What two years' experiment of his demonstrated his own 

belief that man's happiness and higher life are inde- 
pendent of luxuries, or even of external refinements ? 

4. What naive account does he give of his building his 

twenty-eight-dollar house ? 

5. In "Personal Aims" what expression of his delib- 

erate purpose to prepare himself for authorship ? (a) 
How does he preach simplicity of life by " Keep your 
accounts on a thumb-nail " ? and (b) devotion to the 
ideal in " Let us take time to find the real things " ? 

6. In "Sounds at Evening" by what process do the 

church bells become a sound worth importing into the 
wilderness ? (a) By what fancy do screech-owls repre- 
sent first, men, then, nature? 

7. In " Solitude " what does he tell of his physical delight 

in nature, and the revelation " that the nearest in blood 
and the humanest was not a person ' ' ? 

8. Yet how is the expression of the emotion done in a 

straightforward, honest way — more like a man observ- 
ing than feeling ? 

9. Contrast the calm registration of feeling of this New 

England mystic, with the passionate identification 
with nature made in ' ' The Story of my Heart ' ' by 
the English Richard Jefferies. 



94 NATURE STUDIES 

10. How did Thoieau's keen observation combine with 

humor to recomit the battle, in the presidency of 
Polk, between the red republicans and the black 
imperialists ? 

11. In ''A Week on the Concord River" how does his 

description of an annual cattle-show become under 
his loving hand and poetic fancy a veritable village 
festival ? (a) How is it human nature here in its 
rudeness that attracts him, just as it is the wildness of 
nature that charms him ? 

12. (a) In "Winter" with what accuracy and delicacy of 

detail does he describe the landscape coated with 
glaze? (b) Yet with what characteristic coupling of 
pure nature and austere philosophy, does he hint that 
the winter snow " should show some track of a higher 
life than dogs could scent ' ' ? 

13. In the death of the tree, murdered by guilty wood- 

choppers, what dramatic power is shown in entering 
with the tree's life? 

14. In "Excursions" how does he show that nature is a 

holy land, which one who understands the art of walk- 
ing can conquer ? 

15. Why does he champion the wildness of nature? 

16. In " Spaulding"s Farm Transformed" how does the 

walker in familiar fields, by his best thought, find him- 
self in another land ? 

17. How does "Bird Notes" show characteristically that 

while Thoreau wrote of the bird's song his real sub- 
ject is the purer view that the pure note suggests to 
man? 

18. How does his style show (i) a grace of precision ; 



NATURE STUDIES 95 

(2) a well-packed sentence; and (3), in contrast to 
Emerson, a remarkable sense of paragraph structure ? 

19. How has Thoreau, by linking his philosophy of the 

calm joy of simple living, with nature themes, ensured 
for himself a permanence in literature ? 

20. In contrast to Thoreau, how do the writings of John 

Burroughs show more of the naturalist and less of the 
moralist ? 

21. (a) In "English Woods" what appreciation of nature 

in her milder and more human moods does he show ? 
(b) What discrimination of English and American 
poets, based upon the woods, shows this student of 
nature to be also a student of poetry? 

22. In " Hunt for a Nightingale" how is his enjoyment of 

its note deepened by his memories of literature ? 

23. How does his keen observing (i) report the partridge 

drumming; (2) thwart the trick of the cow-bunting; 

(3) apprehend the snake-robber? 

24. How is his range shown in charming fancy which de- 

scribes (i) the coming of the robin, and (2) the 
vesper-sparrow's song ? 

25. How do William Gibson's writings show the naturalist 

who can illustrate his studies with his brush ? 

26. How do his odd titles give in a word-sketch his whole 

word-picture ? 

27. How do his illustrations of the right bee seeking the 

right flower, and of the pollen, shaped like different 
fruits, show the scientific use that can be made of the 
imagination ? 

28. How does the "Tragedy in the Bug-world" show his 

ability to humanize the life that lies below us in the 
vital scale ? 



96 NATURE STUDIES 

29. How does his work seem to bring the insignificant, com- 

mon things of nature to notice, and astonish us by 
their wonder? 

30. How does Bradford Torrey suggest a less robust inter- 

preter of nature than Burroughs? 

31. How does his method of studying a rare bird through a 

field-glass seem more reverent, if less scientific than 
the method of Burroughs, who would shoot the bird 
for study? 

32. In the "Human Nature of Plants" how does he show 

his sensitiveness to their human qualities, and what 
delicate blending of their life is made with man's life? 

33. How does the pine forest tell of the spiritual refreshment 

in nature that is * ' better than beauty and dearer than 
pleasure ' ' ? 

34. What blending of naturalist and humanist is found in his 

work? 

35. (a) In Frank Bolles's exploration " From Blomidon to 

Smoky," what longing is shown to overcome that 
fear which the animal world feels for man ? (b) How 
does he suggest the possibility of individuality in 
birds, and so to himself admit a powerful influence 
against their destruction ? 

36. (a) How does his account of a night alone on Mt. Cho- 

corua have all the thrill and boldness of an explora- 
tion ? (b) Why does he find the wonders of creation 
told with more eloquence by night than by day ? 

37. What different birds' -nests does Mrs. Miller give studies 

of in "A June Round of Calls " ? 

38. What humorous hints of the discomforts bird students 

must suffer ? 



NATURE STUDIES 97 

39. What humorous appreciation of the diiificulties of a crow- 

mother does the " Comical Crow-baby " show? 

40. What writer has entered into animal life not only with a 

naturalist's insight, but with vicarious sympathy? 

41. How does the "Story of the Springfield Fox" seem 

almost an animal biography ? 

42. What foregleams, here, of the rational and moral im- 

pulses that find their culmination in man ? 

43. Why does the school of nature writers seem to increase 

in popularity with the growth of towns and cities ? 



CHAPTER V 
Untioital ^ra: |3rose 2^ictlon 

Syllabus A 

Romance James Fenimore Cooper (1789-1851) 

of Forest 

and Sea THE SPY: 

Harvey Birch Outwitting the American Guard, ch. 

28, pp. 368-386. 

Ilarvey Birch in the Presence of Wasliington, ch. 

34, PP- 448-455- 

The Pilot; 

The Ariel and the Alacrity, ch. 18, pp. 219-235. 

Death of Long Tom Coffm, ch. 24, pp. 308-328. 

Leather Stocking Series 

The Deerslayer: 

Deerslayer Kills His First Indian, ch. 7, pp. 118- 

136. 
Introduction to Chingachgook, ch. 9, pp. 156-169. 
Deerslayer Keeps His Word, ch. 27, pp. 505-525. 

The Last of the Mohicans: 

Hawk-eye and His Friends, ch. 3, pp. 33-42. 
Judgment of Tamenund, ch. 30, pp. 3S8-401. 
Death of Uncas, ch. 32, pp. 412-428. 

The Pathkinder: 

Leatherstocking in Love, ch. 18, pp. 287-309. 

The Block-House, ch. 22, pp. 379-397. 

The Scout to the Defense, ch 23, pp. 398-422. 
The Pioneers: 

The Panther, ch. 28, pp. 332-346. 

Death of Chingachgook, ch. 38, pp. 456-468. 

(98) 



Romance 
of Forest 
and Sea 

Colonial 
and Revo- 
lutionary 
Romances 



Adventure 99 

The Prairie: 

A Buffalo Stampede, ch. 19, pp. 244-256. 
Death of Leatherstocking, ch. 34, pp. 465-479. 

William Gilmore Simms (1806-1870) 
The Yemassee: 

The Doom of Occonestoga, Manly, pp, 255-262; 
Warner's Lib., Vol. 34, pp. 13447-13460. 

John P. Kennedy (1795-1S70) 
Horse-Shoe Rodinson: 

Remarkable Adventure of Horse-Shoe and the 
boy Andy, Manly, pp. 210-217; Stedman- 
Hutchinson, Vol. 5, pp. 386^392. 

John Esten Cooke (1830-1886) 
The Virginia Comedians: 

The Races, Manly, pp. 351-358; Morris, Vol. 4, 
P-43S- 



L. 



ADVENTURE 



<l^u«fition9 on ^dtientufe 

What facts in the early life of James Fenimore Cooper 

unconsciously furnished him material for his after 

career as an author ? 
A man of leisure, in answer to what challenge did he 

suddenly plunge into authorship ? 
How is America's literary dependence on England 

shown by the fact that Cooper felt it wise to pretend 

its authorship to be English ? 
Urged by his friends to try again with a subject he knew 

something of, what book was suggested by his patriot- 
ism ? 
What clear insight is given of an author's feelings in 

1820, when Cooper felt that Americans would not 

read a book that treated of American interests ? 
Contrast the difficulty of his position with that of 

Scott, his contemporary, who could be sure of a 

public. 
How does the fact that Cooper was obliged to publish 

his book himself show the literary situation in 

America ? 
How did the success of the book, both in America and 

England, first demonstrate the possibility of an 

American romance? 
How does Harvey Birch's disguise rescue the young 

British officer from the scaffold ? 
How does Washington's interview with Harvey Birch 

bring out the pathos of the Spy's situation, and the 

moral dignity of his character ? 



ADVENTURE loi 

1 1 . What enabled Cooper to describe so well the * * neutral 

ground " where the action of the story took place? 

12. That Harvey Birch was thought by foreigners to be a 

real person, gives what tribute to Cooper's power? 

13. What familiarity with sea life made Cooper able to find 

defects in Scott's " Pirate" ? 

14. On what challenge did Cooper write the "Pilot," and 

make good his point ? 

15. How does the sea-fight between the Ariel and the Alac- 

rity give the details of a naval operation in a way 
interesting to both sailor and landsman ? 

16. What thrilling account of the Ariel driving to her death 

in spite of Long Tom's brave effort? 

17. How is Long Tom Coffin, a living Yankee sailor, a new 

type from the brutalized type made familiar by 
Smollet ? 

18. What new kind of adventure did Cooper thus originate 

in which he has always remained master ? 

19. In what series did he immortalize frontier life, and create 

the romance of Indian adventure ? 

20. In the " Deerslayer " how was Natty Bumpo's name 

changed from Deerslayer to Hawk-eye ? 

2 1 . What introduction to the young Indian, Chingachgook ? 

(a) What picture of his friendship for Deerslayer ? 

22. What account is given of Deerslayer' s keeping his word 

and returning to meet death from the Hurons ? (a) By 
what bravery did he escape from their clutches ? 

23. How are all these scenes steeped in the atmosphere of 

the beauty and wildness of Lake Otsego in its primi- 
tive wilderness ? 

24. How does the * * Last of the Mohicans, ' ' showing Lea- 



162 ADVENTURE 

therslocking in the prime of life, by its uninterrupted 
rush of incident, hold the chief place in the series in 
popularity ? 

25. In " Hawk-eye and His Friends " what impression of the 

moral qualities of the scout are brought out ? 
(a) What portrayal of the melancholy of Chingach- 
gook, in the thought that his race is passing away 
before the w^hite man ? 

26. In the "Judgment of Tamenund " what poetic picture 

of the old Indian seer ? (a) What dramatic part does 
the " totem " of young Uncas play? 

27. What chivalric death did Uncas die? (a) How did 

Hawk-eye avenge the fate of this "Last of the 
Mohicans ' ' ? 

28. How has this picturesque, poetic conception of Indian 

character taken hold of the imaginations of men, and 
so, true or not, enriched literature? 

29. What novel shows Leatherstocking as a scout, and places 

the scene on the shores of Lake Ontario ? 

30. In Pathfinder's declaration of love for Mabel Dunham, 

what nobility of his nature comes out ? 

31. What account of the terrors of Mabel besieged in a 

blockhouse by the Indians ? 

32. How does the Pathfinder succeed in getting inside to 

protect her? 

33. Which book shows Leatherstocking an old, saddened 

hunter still living in the region of Lake Otsego, now 
no longer a wilderness ? 

34. As a consequence, why is the action of this book tamer 

than that in the rest of the series? 

35. In the account of the fire on the mountains, how does 



ADVENTURE 103 

the heathen death of Chingachgook close fittingly 
Cooper's conception of this character ? (a) What 
suggestion that in the march of civilization Leather- 
stocking finds himself encroached on ? 

36. In the adventure with the panther, how is the accuracy 

of the shot of the old hunter brought out ? 

37. Which book, suggested to Cooper by Daniel Boone, 

transfers Natty in his extreme old age to the mighty 
solitude of the plains ? 
^8. In the buffalo stampede, by what bold plan did the old 
trapper save the party ? 

39. What picture is given of his tranquil death, his eyes 

fixed on the sunset ? 

40. How may Leatherstocking, by his successive removes in 

retreating before the westward tide of civilization, 
symbolize the vigor of the American in his conquest 
of a continent ? 

41. How does Cooper's presentation in prose of the large 

and primitive aspects of nature suggest the contem- 
porary work of Bryant in poetry ? 

42. How is his style characterized by: (a) the power to 

excite interest in what is going to happen ? (b) a 
wholesomener.s, no matter what rough, adventurous 
life is shown ? (c) a true background of the American 
forest, lake, and stream ? (d) an inability to draw 
an interesting woman? (e) no humor? (f) care- 
lessness of language that often becomes slovenliness? 

43. How does this last characteristic show that by translation 

into foreign languages his stories would be more likely 
to be improved than injured ? 

44. Besides being the best known American author on the 



I04 ADVENTURE 

continent, how does he divide with Scott the honor 
of holding his popularity better than any other author 
of fiction in the English language ? 

45. What two new fields did he create for the novel of 

adventure, and in what other field was he the first 
American to enter ? 

46. How does he resemble Scott, in that his best work was 

done with the romantic past of his own country ? 

47. What writer continued the story of adventure and tried 

to do for the South and its traditions what Cooper 
had done for the North ? 

48. Laboring in the least favorable section in all America for 

literary work, the one ante-bellum Southern writer 
who remained in his section and gave himself up to 
creative literature, how is Simms'swork a truly pioneer 
one? 

49. What colonial romance did he write which tells of the 

great uprising of the Indians that almost destroyed 
the infant colony of South Carolina? 

50. In the "Doom of Occonestoga" by what desperation 

of devotion does the Indian mother thwart the demon 
of the tribe? (a) What power of characterization is 
shown in the discrimination of the three chief Indian 
characters? (b) How does Matiwan seem the loveliest 
and purest Indian woman in fiction? 

51. Although the action of the entire book is fairly sustained, 

how does this one scene show a concentration of 
power hardly to be found in Cooper, and suggest 
Simms's possibilities? 

52. In what romance did he show the part played by Carolina 

in the American Revolution? (a) Who was the 
" Swamp Fox " whose brave deeds it shows? 



ADVENTURE 105 

53. In his description of the trackless swamps, the cypress 

forests, the skiggish rivers, how does Southern scenery- 
first come into American literature ? 

54. In this Colonial and this Revolutionary romance, how 

does the small particular field which he made his own 
give him a place among American men of letters, in 
spite of his many faults of style ? 

55. In what romance did John P. Kennedy cover a similar 

ground to that covered by Simms's " Partisan " ? 

56. Hov/ are five British hoaxed into surrendering to one 

man and a boy ? 

57. How is Kennedy's style, leisurely and somewhat elabor- 

ated, less adapted to this exciting period than Simms's 
rough vigor ? 

58. What connection is it said he had with the fourth chapter 

of volume two in Thackeray's " Virginians " ? 

59. What in Simms's birth and sympathy made him, even in 

his prime, fail in picturing the charm of the social life 
of the Colonial aristocracy ? 

60. In what romance did John Esten Cooke, even at the 

age of twenty-four, succeed in capturing much of the 
charm of this vanished old life ? 

61. What picture does he give of courtly Williamsburg at 

the races? 

62. Why may the turmoil of the times account for the fact 

that Cooke never fulfilled the promise of his youth ? 

63. When he came out of the war, how had the taste of the 

public changed from the old-fashioned school of 
romance in which he was trained ? 



Motional lEra: ^ros« 3(^iction 

Syllabus B 
Httmot and patltos 

Father of 

American Washington Irving (i 783-1859) 
Litera- 
ture "Diedrich HISTORY OF Nevv YoRK: 
Knicker- 
bocker " Wouter Van Twiller, Works, Vol. i, pp. 145- 

153- 
Capture of Fort Chri.stina, Works, Vol. i, pp. 
374-378. 

"GeoiTry The SKETCH BoOK: 
Crayon " 

Rip Van Winkle, Works, Vol. 2, pp. 44-65. 

Legend of Sleepy Hollow, Works, Vol. 2, pp. 

, 416-454. 

Stratford-on-Avon, Works, Vol. 2, pp. 317- 

341. 
Westminster Abbey, Works, Vol. 2, pp. 210- 

223. 

Bracebridge Hall: 

The Stout Gentleman, Works, Vol. 6, pp. 75- 
86. 

" Fray CONQUEST OF GrANADA: 

Antonio 

Agapida " Surrender of Granada, Works, Vol. 14, pp. 

520-526. 
The Alhambra: 

Court of Lions, Works, Vol. 15, pp. 128-135. 
Legend of the Rose of the Alhambra, Works, 

Vol. 15, pp. 299-316. 

Life of Washington: 

His Inauguration, Works, Vol. 23, pp. 468-476. 
(106) 



HUMOR AND PATHOS 



107 



Father of 
American 
Litera- 
ture 

" Ik Mar- 
vel " 



"Easy 
Chair" 



" Artemus 
Ward " 



" Mark 
Twain " 



Life of Goldsmith: 

His Last Days, Works, Vol. 11, pp. 360-370. 

Donald G. Mitchell (1822- ) 
Reveries of a Bachelor: 

Blaze— Signifying Cheer, pp. 17-23- 
Ashes— Signifying Desolation, pp. 24-37. 

George William Curtis (1824-1892) 
Prue and I: 

My Chateaux, pp. 31-59; Morris, Vol. i, pp. 
130-140. 
Edward E. Hale (1822- ) 

A Man Without a Country and Other Stories : 
A Man without a Country, pp. 8-47 ; Morris, 
Vol. 3, pp. 467-480; Warner's Lib., Vol. 17, 
pp. 6823-6830. 

Charles Farrar Browne (i 834-1867) 
Artemus Ward: His Travels: 

Horace Greeley's Ride to Placerville, Warner's 
Lib., Vol 6, pp. 2470-2472. 

Samuel L. Clemens (1835- ) 
Innocents Abroad: 

Michaelangelo, Christopher Columbus, and the 
Catacombs, ch. 27, pp. 240-252. 
Adventures of Tom Sawyer: 

The Fence Episode, ch. 4, pp. 28-36. 
Tom's Funeral, ch. 17, pp. 176-180. 
Huckleberry Finn: 

Meeting with Royalty, ch. 19, pp. 156-167. 
An Arkansas Episode, chs. 21 and 22, pp. 180- 
200. 
Frank Stockton (1834-19M) 

Amos Kilbright and Other Stories: 

Amos' s Adscititious Experiences, pp. 3-64. 



io8 HUMOR AND PATHOS 

C^ueistiona on Humor and IJatFtod 

1. Who was the first American author who was born after 

the RevoUition — and so more truly than Brockden 
Brown, the first American man of letters ? 

2. Upon coming of age, what unusual opportunities for an 

American at that time, came to him in the way of for- 
eign travel ? 

3. Soon after his return, what love episode influenced his 

whole life? 

4. To divert his mind from his sorrow, what comic history 

did he write? 

5. The assumed character under which he wrote this has 

given vv'hat name, even now in popular use ? 

6. In the description of Van Twiller's wisdom, person, 

habits, and his famous decision, what facts are gravely 
mixed with nonsense ? (a) How is this frequent and 
often imperceptible passing from sense to nonsense, 
and then back again, to-day characteristic of American 
humor ? 

7. What breezy, robust humor is shown in the mock-heroic 

capture of Fort Christina? 

8. Ten years afterward in what book did Irving appear as a 

serious man of letters ? 

9. What character sketch of a loveable old vagabond did it 

contain? (a) Against what real American back- 
ground did Irving place a poetic old legend ? 
(b) What subdued humor sets the quaintness of old 
Dutch life against the bustle of politics under the 
Republic? (c) How does the swinging sign of the 
inn mark the change? (d) What pathos in Rip's 
awakening ? 



HUMOR AND PATHOS 109 

10. AVhich sketch, more completely humorous, gives an 

account of a pedagogue's unlucky wooing? (a) In 
this, what is the background ? (b) What famous 
description of a barnyard scene does it contain, and 
what transformation does Ichabod's greedy fancy 
make ? 

11. How do both these sketches show a mastery of the 

short story — a literary form in which Americans for a 
long time to come excelled Englishmen ? 

12. What essays in this volume reveal a sympathetic sense of 

English traditions, in reverencing English memorials ? 

13. How docs the finish of their style show Irving to be the 

American heir of the classic prose of Goldsmith ? 

14. What paper in *' Bracebridge Hall," much admired by 

Dickens, gives a humorous character-sketch of a man 
never visible ? 

15. From the romance of old Dutch and old English life, 

Irving turned to the romantic charm of what other 
civilization ? 

16. What two books best embody it? 

17. Under the fiction of what Spanish monk as a chronicler 

did he write one of these books? (a) How is this 
method of fiction followed by Mark Twain and Mau- 
rice Hev/lett in ''Joan of Arc" and "Richard Yea 
and Nay " ? (b) What romantic account is given of 
the departure of the last of the Moors ? 

18. In the "Court of Lions" what dreamy power does 

Irving show in calling up the illusion of departed 
splendor ? 

19. In the "Legend of the Rose of the Alhambra," how 

does the spirit of a Moorish princess bring together 



no HUMOR AND PATHOS 

long parted Andalusian lovers ? (a) What fancy 
explains the sweetness of the modern violin ? 

20. Irving' s later writings took the form of what biographies ? 

21. In the ' ' Inauguration of Washington, ' ' how is the picture 

of his triumphs, by Irving's imagination, set against 
his discouragements as commander ? (a) How is 
Washington's modesty and his diffidence brought out? 

22. In Goldsmith's last days, what loving appreciation of 

that loveable, improvident Bohemian does Irving show ? 
(a) What sentiment in his allusion to "The Jessamy 
Bride" ? 

23. Though neither of these books can take rank to-day as a 

first class biography, how does their charm of style 
make them keep their place ? 

24. How is Irving's style marked by. (a) humor, growing 

more and more delicate ; (b) romantic sentiment ; 
(c) repose? 

25. In point of time, preceding Cooper's recognition by two 

years, how was Irving's revelation to England not 
power, nor novelty, but a style more refined, more 
artistic, than existed even in contemporary England ? 

26. How may his contribution to American literature be not 

only his style, but that style united with our first local 
fiction? 

27. What essayist followed the Irving tradition in appealing 

to sentiment, and under what pseudonym did he 
write ? 

28. What book of his has kept its popularity for fifty years? 

(a) What exuberance of boyish fancy does " Blaze " 
show ? (b) What ready susceptibility to pathos, char- 
acteristic of youth, does "Ashes" show? 



HUMOR AND PATHOS in 

1 

29. How does the unrelieved sentiment of Mitchell cloy, 

except in the roniantic mood of one's youth? 

30. What essayist, by his artistic sense of literary beauty, 

derives more truly from Irving, and yet adds an earn- 
estness carried over from Brook Farm days ? 

3 1 . What book of his is " a group of tender and winning 

studies in the ideal ' ' ? 

32. In " My Chateaux " what treasures of the old world, 

from all centuries, are transported bodily to enhance 
the beauty of the Spanish estate? (a) What noble 
company would his book-loving fancy gather there ? 
(b) In the gracious pity of Curtis for rich Mr. Bourne 
what folly of mere money-getting is shown? (c) 
What romance of wedded love steeps the whole with 
tender sentiment ? 
^^. What love for humanity mingles here with the love for 
the beautiful ? (a) How does this study do something 
better than express charmingly the mood of unsatisfied 
longing ? 

34. Turning from these authors of the Knickerbocker school, 

what New Englander, with ethical bent, was one of 
the strongest influences in forming a sentiment of love 
to the nation during the Civil "War ? 

35. In what profoundly pathetic story — prose fiction — did he 

put his exhortation for love of country ? 

36. What historical setting of Aaron Burr's treason begins 

the story ? (a) What careless words of Philip Nolan's 
became his own sentence? (b) What plan in the 
story makes it possible for Hale to review the splendid 
growth of the United States up to i86i ? (c) What 



112 HUMOR AND PATHOS 

significance in leaving out the Rebellion? (d) What 
pathos in the marked text in Nolan's Bible? 

37. Although the humor of Irving, whose Diedrich con- 

founds fact with nonsense ; of Lowell, whose Hosea 
Blglow mixes drollery and solemn truths ; of Holmes, 
who shifts from jest to earnest and back again in a 
twinkle, is characteristically American, what humorist 
gave to the world a taste of the American humor 
which is representative not of a section, but of the 
whole American people ? 

38. How does his work represent the beginning of the school 

of humorists to be developed out of the popularity and 
democracy of American journalism ? 

39. In his account of Horace Greeley's ride, what humor in 

the apparent irreverence that the stage-driver shows 
"the great man"? (a) What skilful mingling of 
the incongruous, in showing public honors so rapidly 
and painfully done to Mr. Greeley? 

40. How does the laconic, solemn ''I've got my orders" 

suggest the serious lace of " Artemus " himself telling 
a joke ? 

41. What humorist, also a product of American journalism, 

continued the work of Browne, but enlarged its field 
by his gifts of swift narrative, power of characteriza- 
tion, and description ? 

42. What custom of Mississippi pilots furnished to him his 

pseudonym ? 

43. How does the selection of '* Innocents Abroad " depend 

for its humor upon the incredulity and irreverent atti- 
tude of the typical American tourist ? 

44. In what two books, through an American boy, an out- 



HUMOR AND PATHOS 113 

cast, and a negro, does Mark Twain's humor show that 
large humanity that gets its fun, not from caste or 
race, but from the life common to all men ? 

45. What setting accounts for the atmosphere of its robust, 

out-of-doors vitality? 

46. How does Tom Sawyer's fence episode have its humor 

in the universal law of human action that it illustrates, 
the desirability of the unattainable? (a) In " Tom's 
Funeral ' ' what humor in the sanctification that death 
gave to character? (b) What fine humanitarianism 
of Tom ensured Huck a welcome ? 

47. Why might " Huckleberry Finn " be called the "Odys- 

sey of the Mississippi ' ' ? 

48. In "Meeting with Royalty" what picture of rafting 

along the river — and of the various crafts ? (a) What 
fact in the early life of Lincoln gives this picture high 
imaginative value to Americans ? (b) What glimpses 
of the Southern fashion of chasing men with dogs? 
(c) What is Huck's attitude to royalty? 

49. What picture of a lazy Arkansas town ? (a) What pic- 

ture of a "shooting affair" ? (b) What picture of 
the lynching spirit ? 

50. How does this account of life along the Mississippi val- 

ley before the war, put in the mouth of this uncon- 
scious boy-adventurer, make this book perhaps the 
most remarkable literary expression of the West ? 

51. What American is a humorist, but one whose work does 

not bear the usual characteristics of American humor, — 
exaggeration and irreverence ? 

52. His original kind of humor, that reasons logically to 

amusing conclusions, is found in what story ? 



114 HUMOR AND PATHOS 

53. How do the perplexities of the second earthly career of 

Amos show Stockton's method of making impossibil- 
ities seem as correct as facts ? 

54. What humor in the reader's assenting logically to such 

perversity ? 



National Era: ptosc 3?^iction 

« 

Syllabus C 

M^stetg attii ®^crt0ir 

Problems 

of the 

Intellect Edgar Allan Poe (1809-1849) 

Criticism On Hawthorne, Works, Vol. 6, pp. I15-120. 

" Detec- The Murders in the Rue Morgue, Vv'orks, "Vol. 2, p. 

1'"^. „ 261; Tales (Coates Edition), p. i. 

Stories ^ ' ' 

The Purloined Letter, Works, Vol. 2, p. 389; Tales 
(Coates Edition), p. 82. 

"Tales MS. Found in a Bottle, Works, Vol. 2, p. 219; 
°f (Tales Coates Edition), p. 319. 

Science" Descent into a Maelstrom, Works, Vol. 2, p. 235; 
Tales (Coates Edition), p. 330. 

"Morbid William Wilson, Works, Vol. 3, p. 44. 
Analysis " 

The Black Cat, Works, Vol. 2, p. 417; Tales 

(Coates Edition), p. loo. 

The Tell-Tale Heart, Works, Vol. 2, p. 568; Tales 
(Coates Edition), p. 359. 

"Tragic The Assignation, Works, Vol. 2, p. 550; Tales 
Romance" (Coates Edition), p. 347. 

The Pit and the Pendulum, Works, Vol. 2, p. 461; 

Tales (Coates Edition), p. 128. 
The Masque of the Red Death, Works, Vol. 2, p. 

506; Tales (Coates Edition), p. 157. 



116 



MYSTERY AND TERROR 



Problems " Roman- The Fall of the House of Usher, Works, Vol. 2, p. 
of the ces of ^^3. j^^^^ (Coates Edition), p. no. 



Intellect Death ' 



Land- 



scape 
Studies ' 



Ligeia, Works, Vol. 3, p. 98. 
Silence, Works, Vol. 4, p. 297. 
Shadow, Works, Vol. 4, p. 293. 

The Domain of Arnheim, Works, Vol. 3, 
Tales (Coates Edition), p. 365. 



p. I; 



MYSTERY AND TERROR 117 

Questions aw 3^gsterg and terror 

1. What other claim for a high place in American literature 

has Edgar Allan Poe besides his verse ? 

2. What does Poe say regarding the length of the prose 

tale ? (a) What should be its plan of construction ? 
(b) What points of superiority has a prose tale over a 
poem? (c) What principles of "art for art's sake " 
has he thus laid down for his own work ? 

3. In what tales did he, upon the Balzac foundation, show 

himself practically both originator and master of the 
detective story? (a) What original of "Sherlock 
Holmes ' ' figures in both these tales ? 

4. How is the sensational material lost sight of in the cold 

analysis by which Poe dignifies it ? 

5. In these tales by which he is master of a chain of 

circumstances, how does he seem pure intellect un- 
touched by any mood or passion ? 

6. In the tales of pseudo-science how is this cool temper 

illustrated in that scientific curiosity that would enlarge 
the boundaries of man's intellect? 

7. How does the "Descent into a Maelstrom" show the 

intellect working out mathematically the law of 
velocity governing bodies in the water? 

8. Yet what certain exultant joy is felt that the awful vortex 

has been cheated of its prey by man's mind? 

9. In the "MS. Found in a Bottle" how is the scientific 

description of the sea mingled more with imaginative 
terror that describes the strange ship and its sailors? 
(a) What in the supernatural here suggests Coleridge's 
" Ancient Mariner ' ' ? 



Il8 MYSTERY AND TERROR 

10. How does the former of these stories show him to be a 

master in that field now exploited by Jules Verne and 
H. G. Wells? 

1 1 . How do the next three classes of tales suggest something 

remote, unreal, and fantastic? 

12. Why might this make it difficult for us to approach them 

sympathetically ? 

13. Yet in spite of the apparent unreality, what truth of the 

potentiality of man's nature may be suggested? 

14. What in " William Wilson " is autobiographical of Poe's 

school-days in England? (a) How does the idea of 
the story suggest a more psychologic " Dr. JekyI and 
Mr. Hyde ' ' ? (b) By what imaginative symbolism is 
conscience represented here ? 

15. How is it symbolized in "The Black Cat," and in 

" The Tell -Tale Heart"? 

16. How does each story show the interest to lie not in the 

sin, but in the morbid condition, or the madness, or 
the horror? 

17. In the "Assignation" what effective use of Poe's 

literary resources is shown in his quotations? (a) 
What skilful use of Poe's meagre art knowledge infuses 
the scene with the rich atmosphere of Venice ? (b) 
What luxury and beauty are set against the proud will 
that summons death ? 

18. In the " Pit and the Pendulum " what in the beginning 

presages the torture the condemned man is to undergo? 
(a) How is the mystery of the manner of his death 
gradually revealed? (b) What refinement of sensa- 
tion, that smells the odor of the sharp steel, increases 
the terror ? 



MYSTERY AND TERROR 119 

19. In the "Masque of the Red Death" what barbaric 

decoration suggests the arrogance and selfishness of 
greatness ? (a) How is the terror of the pestilence 
brought out ? (b) How is death magnificently trium- 
phant ? 

20. What intensity of coloring makes the tale almost a study 

in red? 

21. In all these tragic romances how does the imagination 

predominate ? 

22. In the "Fall of the House of Usher" what sombre 

landscape sets the scene ? (a) In Usher himself what 
morbid acuteness of senses forecasts some doom ? 
(b) What subtle interweaving of a legendary romance 
increases the intensity ? (c) What fulfilment of 
Usher's dread? (e) How is the subtle connection 
between the mansion and the race that reared it 
consummated ? 

23. How does the art of symbolism, now practiced by 

Maeterlinck, reach its perfection in this tale? 

24. How is the theme of "Ligeia" — love conquering all 

laws of death by its mighty will — distinguished by an 
ideality not found in the other tales ? 

25. How does Ligeia herself seem a creation of Poe's dream, 

embodying the beauty, the intellect, the aspiration, 
the passion of an ideal ? (a) In her dying words, 
what promise of defiance proves the motive of the 
story? (b) What fantastic beauty of decoration in 
the death chamber of Lady Rowena suggests weirdly 
the strange scene to be enacted there ? (c) How is 
one fairly bewildered into accepting the impossible 
transformation in which Ligeia puts on mortality once 
more ? 



I20 MYSTERY AND TERROR 

26. How does the weird or Gothic romance, that Avas im- 

ported into American literature with Charles Brockden 
Brown, find its perfected form in these last three tales 
of Poe ? 

27. In "Silence" what reiteration of phrases, that one 

associates rather with poetry than prose, brings in 
sound to stamp the mood ? 

28. In " Shadow " what subtle rhythm and cadence of prose 

— reverberating the solemnity, is added to the usual 
symbolic setting of decoration and color ? 

29. How does Poe's prose here reach its best form, in its 

beauty and impassioned melody often suggesting 
De Quincey's style? 

30. In the "Domain of Arnheim " Poe's aesthetic sense 

produces what vision of an earthly paradise ? 

31. That this vision has no touch of the fleshly in it, is what 

tribute to the purity of Poe's imagination? 

32. Though Poe has not the sustained power of creation, 

what wide range, poAver, and originality of his fiction 
have been shown in these tales? 

33. Just as in poetry he is master of a lyric impulse, how is 

he in prose fiction the master of a mood, a chain of 
circumstances, or a situation ? 

34. Why should this perfection of art give him a first place 

in American literature ? 

35. How did his devotion to the beauty of art do a great 

service for American literature in creating superior 
standards ? 

36. Though he never appealed to the human heart nor tried 

to make men better, how does the artistic integrity of 
his work, and its remoteness from the impure, the 



MYSTERY AI^D TERROR 121 

fleshly, even if the subjects be abnormal, constitute in 
itself a kind of righteousness ? 

37. According to cosmopolitan value and standards, what 

rank in American literature has been given to Poe ? 

38. How does the fact that the setting of his work is "out 

of place — out of time ' ' suggest that no changes of 
times or manners can limit its appeal? 

39. Why may this suggest that his chance of a permanent 

and increasing fame is perhaps the best of any Ameri- 
can author ? 



MationnI SEra: Prose S^iction 

Syllabus D 

Problems 

of Con- Nathaniel Hawthorne (1S04-1S64) 

science ., ^ ,, „ ., 

Nature MoSSES FROM AN Old MANSE: 

Studies 

The Old Manse, pp. 11-46. 

Local Twice Told Tales: 

Studies 

A Rill from the Town Pump, pp. 165-173. 

Mosses from an Old Manse: 

The Old Apple-Dealer, pp. 495-503. 

Historical TwiCE TOLD TALES: 

The Gray Champion, pp. 21-31. 
Howe's Masquerade, pp. 276-289. 

Allegor- The Ambitious Guest, pp. 364-374. 

^'^^^ The Great Carbuncle, pp. 173-191. 

Snow Image: 

The Snow Image, pp. 391-412. 

Mystery MosSES FROM AN Old MANSE: 

Young Goodman Brown, pp. 89-106. 
Rappaccini's Daughter, pp. 107-148. 

Four The Scarlet Letter: 

Great 

Romances The Custom House, pp. 44-66. 

The Market-Place, ch. ii, p. 69. 

The Recognition, ch. iii, p. 81. 

Pearl, ch. vi, p. 113. 

The Minister's Vigil, ch. xii, p. 179. 

(122) 



IDEALISM 123 

t 

Problems The Pastor and His Parishioner, ch. xvii, p, 

of Con- 

science 

Revelation, ch. xxiii, p. 294. 

Four The House of the Seven Gables: 

Romlnces The Little Shop-Window, ch. ii, p. 46. 

The First Customer, ch. iii, p. 60. 

Clifford and Phoebe, ch. ix, p. 162. 

Governor Pyncheon, ch. xviii, p. 317. 

The Blithedale Romance: 

A Knot of Dreamers, ch. iii, p. 336. 

Eliot's Pulpit, ch. xiv, p. 453. 

A Crisis, ch. xv, p. 466. 

The Three Together, ch. xxv, p. 561. 

Midnight, ch. xxvii, p. 579. 

The Marble Faun: 

Beatrice, ch. vii, p. 80. 

The Faun and the Nymph, ch. ix, p. 97. 

The Faun's Transformafion, ch. xix, p. 203. 

Miriam and Hilda, ch. xxiii, p. 236. 

The Bronze Pontiff's Benediction, ch. xxxv, p. 

363- 
The World's Cathedral, ch. xxxix, p. 403. 

Post- Septimius Felton: 

WorkTun- ^he Appearance of the Draught, pp. 400-403. 
finished) Plans for Immortality, pp. 403-413. 

Sibyl's Joke, pp. 421-430. 



124 IDEALISM 

1 . Who was the only New England man of letters that, not 

stimulated by the literature of a foreign past, nor 
stirred by new ideals, felt with an artistic sensitiveness 
the beauty and tragedy in the ideals of Puritanism ? 

2. How does the "Old Manse" show his love for the 

common things in nature, and shoAV him noting the 
commonplace affairs of daily life? (a) What fancy 
and humor in his chat of the orchards ? the vegetable 
garden ? (b) What description of a fishing excursion 
up the Concord River? (c) What tender reflections 
on the change of seasons? (d) What charming gossip 
of Emerson, of Thoreau, and of the Transcendentalists ? 
(e) What glimpses of his own personality in this 
causerie ? 

3. In the purely local pictures, how does ** A Rill from the 

Town Pump ' ' show him a keen observer of the village 
life about him ? 

4. How does its humor show a kind, broad-souled interest 

in humanity? 

5. In "The Old Apple-Dealer" what reproduction of a 

bit of life that he saw daily ? (a) Yet how does his 
sympathy here take on a tenderness that transmutes 
the old man to "a si)iritual essence " ? 

6. What tales show his faculty for restoring, from a few 

angular facts, the temper of early New England 
history ? 

7. What figure symbolizes the hereditary spirit of New 

England liberty? (a) What pageant symbolizes the 
colonial government of Massachusetts ? 



IDEALISM 125 

8. What mingling of the mysterious with the actualities in 

the stories ? 

9. How is the supernatural made almost credible by the fact 

that Hawthorne does not insist on its reality ? 

10. What allegorical tales have for their background the 

most picturesque of New England scenery, the White 
Mountains ? 

11. Which tale symbolizes the irony in the fate of a youth 

who desired earthly fame ? (a) What artistic cumula- 
tion of effects produces the sense of impending doom ? 
(b) What question at the close, by its abruptness, 
forces the intensity of the theme ? 

12. Which tale symbolizes the failure that lies in any human 

endeavor based only upon desire of riches, skepticism, 
learning, or tradition? (a) What ingenuity in the 
correspondences selected for each type of seeker ? 

13. How does the "Snow Image" show the folly of com- 

mon sense ? (a) "What delicacy of fancy plays here 
on the borderland of the natural and the supernatural ? 
(b) By what steps does a snow-maiden playing in a 
garden seem a perfectly natural occurrence ? 

14. What kind of stories approach more nearly to the ques- 

tions which fascinated his imagination, and become, 
in his romances, the themes he brooded upon ? 

15. In "Young Goodman Brown" what picture of the 

fantastic temptation that assumed tangible form to the 
Puritan conscience? (a) What in the wild atmos- 
phere makes plain the witchcraft delusion of old 
Salem ? (b) What fine imaginative touch pictures the 
gloom in which such a consciousness of secret sin 
would plunge a soul ? 



126 IDEALISM 

1 6. What in " Rappaccini's Daughter" shows that the 

highest and most exquisite beauty may exist in a 
being nurtured by poison ? (a) What tragedy deepens 
the already sinister subject ? (b) What unsolved 
mystery is here? 

17. Contrasting these weird tales with Poe's "Fall of the 

House of Usher," and "The Tell-Tale Heart," how 
do they show in common (i) beauty of workmanship ; 
(2) a dreamer's world ; (3) a use of symbols? 

18. Both artists and both dreamers, which one makes no 

appeal to the moral or spiritual nature? (a) Which 
one m.akes a constant one ? (b) Which one has the 
brilliancy ? which the tenderness ? 

19. In which book did Hawthorne, at the age of forty-six, 

show first and best that capacity of sustained power 
w^hich Poe lacked ? 

20. In. " The Custom House" what picture of the prosaic 

surroundings where his brooding imagination con- 
ceived, from the symbol of Hester Prynne's sin, the 
story of her expiation ? 

21. In " The Market-Place " what sullen background of the 

Puritan temper makes Hester's feeling of shame 
almost intoleral:)le ? (a) "What picture did she call up 
to relieve the hardness of the reality ? 

22. In " The Recognition " v\'hat silence of Hester makes it 

possible for Hawthorne, by Roger Chillingworth, to 
symbolize pitiless justice searching out the secret sin 
of Dimmesdale ? 

23. In " Pearl " w^hat elfishness of the child symbolizes the 

torture disciplining the soul of Hester ? 

24. In "The Minister's Vigil " what forecast of the final 



IDEALISM 127 

revelation to the people ? (a) What strange appear- 
ance of the sky makes the very heavens accusers ? 

25. In " The Pastor and the Parishioner ' ' what symbolism in 

the autumn background? (a) What aAvful revealing 
of the shattered weakness to which Dimmesdale's 
sense of sin had brought him ? (b) W' hat intensity 
and vitality in Hester's nature rose to sustain him? 

(c) How had the seven years of public shame, despair, 
and solitude estranged her from human institutions? 

(d) What dangerous freedom of thought had it given 
her? 

26. In "The Revelation " how did the people express their 

rapture for the sanctity of their preacher? (a) In 
that moment, what repetition in broad daylight of the 
minister's vigil? (b) How again does the scarlet 
stigma blaze forth his sin ? (c) To the agonized 
appeal of Hester, "Shall we meet again?" what 
solemn answer, almost reproof, comes ? 

27. How is the austere spirituality of the Puritan religion 

culminated in this dying triumph of Dimmesdaie ? 

28. What directness of expression, perfection of unity, 

steady onward sweep of the inevitable, make this 
romance a masterpiece? (a) How does Hawthorne 
show here that externals are only incidents : the real 
events of life are enacted in the human heart and 
conscience ? 

29. Which romance shows less power, but is more playful, 

and is the most domestic of his stories ? 

30. Yet how does it illustrate Hawthorne's characteristic 

desire to illustrate some moral truth — in that its motive 
is the effect of a curse ? 



128 IDEALISM 

31. In " The Little Shop-Window' ' how does Miss Hepzibah, 

the heroic representative of the family, become im- 
pressive and tender ? 

32. In " The First Customer" what delightful humor in the 

** cannibal feast " ? 

33. In " Clifford and Phoebe " what picture of the freshness 

and wholesomeness of Phoebe's nature? (a) What 
subtle portrayal in Clifford of the instinctive delicacy 
that survived the intellectual decay of power ? 

34. In "Judge Pyncheon " what fanciful satire first depicts 

his character — as he sleeps in his chair ? (a) What 
sportive, grotesque description of the assemblage of 
dead Pyncheons follows? (b) What final picture — 
in the helplessness of the old Judge, who cannot brush 
away a fly — announces his death ? 

35. In which book did he draw upon some memories of his 

connection with Brook Farm ? 

36. Its avowed object, " to show that the whole universe 

makes common cause against a woman who swerves a 
hair's breadth from the beaten track," is how charac- 
teristic of Hawthorne's method of construction ? 

37. In "A Knot of Dreamers" what emphasis of the 

luxuriant beauty of Zenobia ? (a) How does the 
flower in her hair symbolize it, and prophesy its end ? 
(b) What sly humor shows the " brotherhood " some- 
thing of an affectation ? 

38. In ''Eliot's Pulpit" the discussion of woman's place 

differentiates what characteristics of Hollingsworth, 
Priscilla, Coverdale, and Zenobia? (a) How does 
Zenobia show herself to be dominated by Hollings- 
worth ? 



IDEALISM 129 

39. In '' The Crisis" hov/ is the fascination and the weakness 

of Hollingsworth revealed by his effect on Coverdale ? 

40. In "The Three Together " how is the selfishness and 

coldness of Hollingsworth' s nature set off by the 
generosity and warmth of Zenobia's? 

41. In "Midnight" \vhat grim humor lies in Silas Foster's 

comments ? (a) What irony in the unseemly appear- 
ance of Zenobia, in life so beautiful, stamps the 
moment with terrible reality ? 

42. What in Hawthorne's experience at Brook Farm makes 

us know that this night search is taken from real life ? 

43. What in the character of Zenobia sets it beside Hester 

Prynne for distinctness and reality of conception ? 

44. How does this story stand out from all the others in 

having no background of the supernatural ? (a) In 
this respect, why is it least Hawthornesque ? 

45. In Avhat romance did he use a larger, richer background 

than New England could furnish ? (a) For a romance 
of the mystery of evil, why was this the only adequate 
background possible ? (b) What Greek statue and 
what Renaissance painting were his working symbols ? 

46. In " Beatrice " what hinted relationship between Miriam 

and the original of Guido Reni's painting? 

47. In "The Fawn and the Nymph" what impression is 

given of Donatello's joy and innocence? (a) How 
did his happiness affect Miriam ? 

48. In " The Faun's Transformation" what was the imme- 

diate effect of the crime upon Donatello ? (a) What 
ecstasy came to them both as the first result of the sin ? 

49. In "Miriam and Hilda" what effect of the sin 

upon Hilda is shown by her attitude toward Miriam ? 



I30 IDEALISM 

(a) How does this revelation to Hilda of Miriam's 
sin, symbolize that mystery of evil which must throw 
its gloom upon that which it cannot taint? 

50. In "The Bronze Pontiff's Benediction" what strange 

good issuing from the very heart of this sin does 
Kenyon find for Donatello and Miriam ? (a) What 
symbolism in the benediction ? 

51. In "The World's Cathedral" what strange picture of 

Hilda, a daughter of the Puritans, in the cathedral- 
confessional, casting off the burden of the awful secret 
laid upon her so long ? 

52. Though the actual fate of Miriam and Donatello is left a 

mystery, as well as Miriam's origin, and Donatello's 
identity with the Faun, how is the spiritual fate of the 
two made plain ? 

53. In " Septimius Felton," an unfinished romance, what 

theme, used years before in the short story, "Dr. 
Heidegger's Experiment," appears again to be elabo- 
rated ? 

54. In the appearance of the draught, how is its real nature 

symbolized ? 

55. What fanciful plans for immortality bring out Septimius's 

nature ? 

56. What grim humor in Sibyl's jest? 

57. How does the style of Hawthorne show: (a) a purity of 

diction unrivaled ? (h) a clearness of sentence 
structure, yet a long, lingering sentence ? (c) an 
old-fashioned reserve? (d) a delicacy of subtle 
rhythm ? (e) an imagery that plays about the 
thought? (f) richness of feeling? (g) unmatched 
power of interweaving the whole with a firm texture ? 



IDEALISM 131 

58. Hawthorne's power of sustained workmanship, his origi- 

nal style, his appeal to the human heart, and, above 
all, his spirituality, give him what place in fiction to 
Anglo-Saxon readers ? 

59. How docs his artistic expression of the inner life of 

Puritanism make him our most indigenous writer? 

60. How does his work show him to be the least imitative of 

American mien of letters ? 



National SEta: Prose ^fiction 

Syllabus E 

"Dean of William Dean Howells (1837- ) 

American 

Letters" CRITICISM AND FICTION: 

Idealism versus Realism, pp. 10-13. 

The American Reading Public, pp. 78-81. 

What Is Realism ? pp. 15-17. 

Their Wedding Journey: 

The Outset, ch. i, pp. 1-34. 

*. Their Silver W^edding Journey: 

Engaging Staterooms, chs. 3 and 4, pp. 14-26. 

A Modern Instance: 

The Engagement, ch. 4, pp. 36-54. 

Settling, ch. 14, pp. 167-180. 

A Questionable Proceeding, ch. 29, pp. 357-370. 

The Quarrel, ch. 31, pp. 378-394. 

A Lawsuit, ch. 37, pp. 457-467. 

The Court-Room, ch. 40, pp. 491-504. 

Rise of Silas Lapham: 

Silas Interviewed, ch. i, pp. 1-30. 
A Book Chat, ch. 9, pp. 1 51-175. 
The Invitation, ch. 13, pp. 242-262. 
The Dinner, ch. 14, pp. 263-293. 
Difficulties, ch. 20, pp. 362-380. 
The Temptation, ch. 25, pp. 444-468. 

(132) 



REALISM 133 

"Dean of LaDY OF THE AROOSTOOK: 

American 

Letters" Lydia s Departure, ch. I, pp. 1-9. 

Home Scruples, ch. 5) PP- 44-51- 
On Shipboard, ch. 10, pp. 1 10-120. 
A Promenade, ch. 14, pp. 153-169. 
Comparisons, ch. 18, pp. 204-217. 
In Venice, ch. 23, pp, 249-274. 
A Revelation, ch. 24, pp. 275-289. \ 
Visit to Bradfield, ch. 27, pp. 316-326. 

The Hazard of New Fortunes: 

"At Maroni's," ch. 11, Vol. i, Part i, pp. 98- 

116. 
A Meeting, ch. 12, Vol. I, Part I, pp. II7-132. 
Plans for the Paper, ch. 7, Vol. i. Part 2, pp. 

189-195. 
Lindau's Principles, ch. 12, Vol. I, Part 2, pp. 

249-256. 
Dryfoos at Home, ch. 3, Vol. I, Part 3, pp. 300- 

310. 
The Staff Dinner, ch. 6, Vol. 2, Part 4, pp. 106- 

127. 
The Issue, ch. 7, Vol. 2, Part 4, pp. 128-138. 
" A Crank," ch. 8, Vol. 2, Part 4, pp. 139-152. 
The Strike, ch. 3, Vol. 2, Part 5, pp. 211-219. 
Father and Son, ch. 4, Vol. 2, Part 5, pp. 220- 

228. 
A Victim of Law, ch. 5, Vol. 2, Part 5, pp. 229- 

234- 
Father and Son Once More, ch. 6, Vol. 2, Part 5, 
pp. 235-240. 



134 REALISM 

Questions tin Healidttt 

1. According to William Dean Howells, what is the criti- 

cism a young writer meets with when he tries to put 
the "life-likeness" into his personages? 

2. Under what grasshopper analogy are the methods of the 

idealist and realist contrasted ? 

3. In "The American Reading Public" vv'hy is the Eng- 

lish novel more comfortable to the ordinary American 
than an American novel ? 

4. Why is the literary worth of things in America still so 

faint and weak to us ? 

5. In " What is Realism ? " what old fight in the history of 

literature is going on under new terms ? 

6. Why is the realist so careful of every fact ? (a) How is 

his soul exalted ? 

7. In working out this conception of literary art, what 

experience and training have been Mr. Howells' s 
equipment? 

8. How has all this, together with his exceptional gifts, 

made him able to be our best observer of American 
life? 

9. In "Their Wedding Journey" what experience of 

Basil and Isabel expresses the feeling of the typical 
Bostonian, set down in the whirl of New York society, 
and his distaste for it? 

10. In "Their Silver Wedding Journey" what detailed 

reproduction of Mr. and Mrs. March's delightful 
anxieties in choosing a steamer and a stateroom ? 

11. In "A Modern Instance" what skilful portrayal of 

Marcia's assumed coldness, quickly changing to the 



REALISM 135 

wild gayety of her happiness? (a) How does Bart- 
ley Hubbard's prerogative in teasing strike an insin- 
cere note in his character? 

12. In "Settling in Boston" what account of a search for 

a boarding-house ? of the cheap restaurant ? (a) What 
touch of jealousy from Marcia was brought out by 
Bartley's planning his first newspaper article ? 

13. In "A Questionable Proceeding" how does Marcia 

find her new sacque was paid for ? (a) What evidence 
^ that Hubbard would put his meannesses on his friend ? 

14. In "The Quarrel" what good resolutions had Hub- 

bard made ? (a) How is the increasing jealousy of 
Marcia brought out ? (b) What cool brutality in 
Hubbard's words? 

15. In " A Lawsuit " how is Marcia's illusion as to her hus- 

band's death dispelled? (a) True to her weakness, 
what is the moti^■e that finally makes her do her duty? 

16. In "The Court-Room" what change in Hubbard's 

appearance marks his degeneration ? (a) What power- 
ful climax in the old squire pleading for vengeance in 
the last words he ever utters ? 

17. In "The Rise of Silas Lapham " what portrayal of the 

method of newspaper interviev.ing? (a) What re- 
vealing, through and through, of a typical American 
self-made man comes out in Silas's own words? (b) 
What sly satire in the newspaper article Hubbard 
produces ? 

18. In " A Book Chat" what picture of those who buy 

books for furniture ? 

19. In "The Invitation" what system of cousinship was 

a great refuge for Mrs. Corey in making up her 



136 REALISM 

dinner list, for the Laphams ? (a) Wliat problems of 
the etiquette of acceptance, and of ' ' gloves or no- 
gloves," agonize the Laphams? 

20. In "The Dinner" what picturing of the gaucheries oi 

Silas, and his ill-at-ease feelings ? (a) What dra- 
matic aspect lies in an unaccustomed glass of wine, 
as seen in his behavior ? 

21. In "Difficulties" what revealing of Silas's financial 

embarrassments shows the wife's pride in her husband's 
honesty? (a) What revealing of the Coreys' suffer- 
ings in the Lapham entanglement ? 

22. In " The Temptation " what specious shifting of respon- 

sibility makes Silas's integrity convincingly ingrained ? 

23. In "The Lady of the Aroostook" what portrayal of 

the rural environment of Lydia's home? 

24. In "Home Scruples" how does the minister satisfy 

both Miss Maria and the Deacon ? 

25. In "On Shipboard " what good taste in Lydia's dress- 

ing made a success ? (a) What climax to her charms 
was reached in the ' ' black silk ' ' ? 

26. In "A Promenade" what womanly indignation at 

Staniford's suspicion? (a) What picture of Lydia's 
womanly delicacy calling out all of Staniford's 
chivalry ? 

27. In "Comparisons" what picture of Lydia's practical 

view of Staniford's rescue of Hicks? (a) What 
moral recoil did he feel in her from the voluntary 
semblance of unwomanliness in the "lady of his 
acquaintance ' ' ? 

28. In " In Venice " what description of the effect of the 

black silk upon Mrs. Erwin'sset? (a) What pictur- 



REALISM 137 

ing of the instinctive refinement of Lydia, in all this 
cosmopolitan company ? 

29. In " A Revela,tion " how does Lydia find out the con- 

ventionality of chaperonage? 

30. In *'A Visit to Bradfield " what picture of the prim 

house walled in snow banks, and the social evening 
" almost wicked in its brilliancy " ? 

31. In "The Hazard of New Fortunes" what account of 

the "natural gas region" tells Basil March who the 
backer of "Every Other Week "is? (a) Why did 
Dryfoos become interested in the newspaper syndicate 
business ? 

32. In "A Meeting" how are Fulkerston the optimistic 

American, Lindau the German socialist who lost a 
hand fighting for the Union, and Basil March the 
editor who feels that he does not live up to his highest 
ideals, differentiated? 

33. In "Plans for the Paper" by whose suggestion is it 

that the "one-handed dynamiter" is given work on 
" Every Other Week " ? (a) What contrast between 
the attitude of March to the articles on " Life in 
Every Part of New York ' ' and that of Conrad 
Dryfoos ? 

34. In "Lindau's Principles" what picture of Lindau's 

method of keeping himself mindful of the poor ? 
(a) What evidence of his hatred of millionaires ? 

35. In "Dryfoos at Home" what picturing, through the 

disappointment of the father, where Conrad's real 
interest lies ? 

36. In "The Staff Dinner" what toast in compliment to 

Lindau was proposed by Dryfoos ? (a) How did the 



138 REALISM 

account of "how Mr. Dryfoos managed a strike" 
lead to a tirade from Lindau ? 

37. In "The Issue " for what point of pride and honor did 

March find himself asking the support of his family ? 
(a) What declaration of Conrad puts an odd aspect 
on the affair ? 

38. In " A Crank" how does I.indau live up to his prin- 

ciples ? 

39. In " The Strike " what picture of a piivate war between 

capital and labor, fought out on the public streets ? 

40. In "Father and Son" how does Conrad's gentle 

bravery stand out against his father's angry catechis- 
ing and final blow ? 

41. In "A Victim of Law" in what exalted mood did 

Conrad, in the act of protecting Lindau, die? 

42. In " Father and Son Once More" what picturing of the 

old mother's constantly forgetting that Conrad is 
dead? (a) What scene of the tv\'o standing beside 
the dead body, brings home to Dryfoos the cruelty of 
his blow ? 

43. How has William Dean Howells's work come nearer 

being a presentation of the American type, not a 
local or sectional type, than the work of any other 
novelist? 

44. What pervasive, yet evasive humor of his makes the 

record of these normal lives unusually attractive ? 

45. How does his skill in showing the dramatic aspect of the 

trivial make one forget to look for stronger emotions ? 

46. How does the purity of his work make it a significant 

contrast to the realism of the Old World novelists ? 



national 3Erat Prose 2rlction 

Syllabus F 
®!\c International flooel 

Henry James (1843- ) 
"The Daisy Miller: An International EnsoDE: 

Psycho- 
logic Im- Daisy Miller, pp. 3-134- 
pression- 

*** Portrait of a Lady: 

An American Girl of Imagination, ch. 6, pp. 41- 

57- 
A Woman Journalist, ch. 10, pp. 69-80. 
Ideals, ch. 16, pp. 131-141. 
A Strange Gift, ch. 18, pp. 148-162. 
Blindness, ch. 34, pp. 297-305. 
A Retrospect, ch. 42, pp. 369-381. 
Clear Sight, ch. 51, pp. 468-481. 
An Acknowledgment, ch. 54, pp. 499-5°7- 

Roderick Hudson: 

The Offer, ch. 2, pp. 18-30. 

A Trick of Fortune, ch. 4, pp. 49-59. 

Two Years After, ch. 6, pp. 73-88. 

Plain Truths, ch. 13, pp. 170-182. 

The Crisis, ch. 15, pp. 193-202. ^ 

A Good Friend, ch. 16, pp. 202-212. 

A Failure, ch. 21, pp. 272-291. 

Trying to Retrieve, ch. 23, pp. 304-316. 

A Meeting, ch. 24, pp. 316-326. 

A Revelation, ch. 25, pp. 326-338. 

An Accident, ch. 26, pp. 338-347. 

(139) 



isf 



140 THE INTERNATIONAL NOVEL 

"The Princess Casamassima: 

Psycho- 
logic Im- -^ London Lodging, ch. 8, pp. 90- 1 00. 

pression- A Summons, ch. 13, pp. 153-168. 

A Warning, ch. 16, pp. 200-211. 

The Castle, ch. 22, pp. 275-291. 

New Surroundings, ch. 23, pp. 292-303. 

A Vov/, ch. 24, pp. 304-317. 

A Visit to the Continent, ch. 30, pp. 372-381. 

Forgotten, ch. 36, pp. 437-447. 

The Letter, ch. 44, pp. 554-567. 

The Princess's Disappointment, ch. 46, pp. 576- 

585- 
The Letter Answered, ch. 47, pp. 586-596. 



THE INTERNATIONAL NOVEL 141 

1. What American novelist has used the methods of real- 

ism to deal principally with the experience of Ameri- 
cans in Europe ? (a) What equipment had he for his 
cosmopolitanism ? 

2. What novel is a delicate appreciation of the average 

American girl ? 

3. What picture of the family introduction being made by 

the small boy ? (a) What picture of the masterfulness 
of the boy ? 

4. In the picture of the trip to the Castle of Chillon, what 

charm of Daisy attracts Winterbourne in spite of 
himself ? 

5. In the meeting at Rome, what flirtations led Winterbourne 

to think her bold at heart ? 

6. What climax to her audacity in the Coliseum episode ? 

7. What message sent from her death-bed to Winterbourne 

shows her in a new light ? 

8. What words from the Italian reproach Winterbourne with 

his mistake in not recognizing her indestructible 
innocence ? 

9. What novel shows another type of American girl from 

Daisy Miller? 
[o. In "An American Girl" what analysis of Isabel 

Archer's character shows her to be a young woman of 

theories ? 
:i. In " A Woman Journalist " what portrayal of Henrietta 

Stackpole, another American type ? 
[2. In " Ideals " what evidence that Isabel loved her liberty 

and her theories ? 



142 THE INTERNATIONAL NOVEL 

13. In " A Strange Gift " what means for Isabel's gratifica- 

tion of her imagination was brought about by Ralph 
Touchett ? 

14. In " Blindness" what use of her privilege to gratify her 

imagination was revealed in her fine theory of Gilbert 
Osmond ? 

15. In " A Retrospect" what review shows to Isabel the 

result of her theory ? 

16. In *^ Clear Sight" what revelation shows Isabel how 

she has been duped? 

17. In "An Acknovv-ledgment " what confession of the 

real truth to Touchett relieves Isabel ? 

18. How doci the sublime devotion of Isabel Archer to a 

mistaken ideal suggest George Eliot's Dorothea? 

19. How does the analysis of motive here, too, suggest 

George Eliot — but George Eliot with less of the 
ethical, and more of the artistic purpose, dominant ? 

20. What no\cl shows an experiment in giving an American 

an art education in Europe ? 

21. In "The Offer" what analysis of Hudson presents the 

artistic temperament in the crude ? (a) ^Yhsit promise 
in his work leads to Mallet's offer? 

22. In "A Trick of Fortune " how does the sudden engage- 

ment of Roderick to Mary Garland seem like a blow 
on the cheek to Mallet ? 

23. In "Two Years After" what proof of the success of 

Mallet's experiment is shown in Hudson's work ? (a) 
What prophecy of Gloriani has an ominous tone ? 
(b) What strange restlessness and weakness in Hudson 
follows ? 

24. In "Plain Truth" what frank analysis of Hudson by 



THE INTERNATIONAL NOVEL 143 

Christina seems to reveal his increasing weakness ? 
(a) "What inability of Hudson to get to work shows 
itself? 

25. In " The Crisis " what burst of confidence in Rowland's 

letter shows Hudson's increasing folly? (a) What 
bit of news loses Mr. Leavenworth the Statue of 
Culture ? 

26. In "A Good Friend" what personal temptation is con- 

quered in Mallet's trying to help Hudson? 

27. In "A Failure" at the announcement of Christina's 

marriage to Prince Casamassima what brutal confession 
did Hudson make that showed absolute irresponsibility 
as a son, a lover, and a man? (a) The next day 
what apparent forgetfulness on Hudson's part as to the 
seriousness of his action the day before ? 

28. In "Trying to Retrieve" what almost passionate fare- 

well does Hudson take of the beauty of Italy ? (a) 
What listlessness in his attitude ? 

29. In " A Meeting " what analysis of his love for Christina 

does Hudson make? (a) What did Rowland find 
in the Princess to make him feel a mixture of sym- 
pathy and dread? (b) Instead of an outbreak of 
reproach on Roderick's part, what exclamation shows 
the Princess's power? 

30. In '* A Revelation " what law of impulse does Roderick 

declare paramount ? (a) To the insolence of Roder- 
ick's egotism, what revelation of Mallet's comes? 

31. In " An Accident ' ' what prevented any more disappoint- 

ment for those who loved Roderick ? 

32. What study of the artistic temperament has the character 

of Roderick furnished? 



144 THE INTERNATIONAL NOVEL 

33. How does the background of art and art life create 

an Old World atmosphere of great charm to the 
book? 

34. Which novel contains the study of the character of 

Christina Light — a study never finished ? 

35. In "A London Lodging" what picture (i) of Lady 

Aurora's socialistic sympathies; (2) of Hyacinth's 
vague, yet earnest socialism; (3) of Muniment's 
cold ridicule ? 

36. In " A Summons " what does Hyacinth find is the rea- 

son the Princess is interested in him ? (a) What 
effect has her charm upon him ? 

37. In " A Warning " what insight into the socialistic fad 

of the Princess? (a) What warning did Hyacinth 
receive from the Princess's friends? 

38. In "The Castle" why do the conduct and desires of 

the Princess seem to him a noble and interesting 
whim? (a) In order not to disappoint her what 
largeness did he give to the "movements circum- 
scribed to one little club- room " ? 

39. In "New Surroundings" how does Hyacinth consent 

to make it possible for the Princess to feel that she has 
succeeded in bridging class distinctions? 

40. In "A Vow ' ' what oath that he had taken, did Hyacinth 

reveal to the Princess ? (a) What change in feeling 
toward the cause had come since this vow ? 

41. In " A Visit to the Continent" what criticism of the 

socialist's program of action does his visit to Paris 
and Venice make ? 

42. In " Forgotten " what new plan of the Princess to help 

the ' ' cause " ? 



THE INTERNATIONAL NOVEL 145 

43. In "The Letter" what strange presentation of the 

letter to Hyacinth ? 

44. In "The Princess's Disappointment" what revelation 

of the extent to which the Princess's love for the 
" cause " had led her? 

45. In "The Letter Answered" how did Hyacinth fulfill 

his vow ? 

46. How does this novel show a study of the deeper phases 

of English socialism ? (a) What triumph of con- 
structive power here ? 

47. Why may artistic impartiality to all his characters be 

said to be James's chief characteristic? 

48. Why may his leaving to our own conjecture the fate of 

the people in whom he has interested us be another 
characteristic ? 

49. Yet how is this, the canon of the art of impressionism — 

" to catch just the irregular rhythm of life " ? 

50. How does his style seem to be easy, yet not trivial, and 

stately without being stiff ? 

51. How does it lend itself to charming cameo-descriptions, 

or subtle character-paintings ? 

52. How does his point of view seem always the English or 

Continental rather than the American ? 

53. How can one trace the influence of the French in the 

nicety of his art ? 



146 



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Syllabus G 



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In New 
England 



(Largely the Short Story) 

Mary E. Wilkins (1862- ) 
/' -A Humble Romance: 

Gentian, pp. 250-265. 

The Conquest "of Humility, pp. 415-436. 

Sarah Orne Jewett (1849- ) 

A White Heron and Other Stories: 
A Wliite Heron, pp. 1-22. 
The Dulham Ladies, pp. 124-150. 

Alice Brown (1857- ) 

Tiverton Tales: 

A Second Marriage, pp. 230-262, or Atlantic, 
1897, Vol. 80, pp. 406-417. 

Meadow Grass: 

Joint Owners in Spain, pp. 166-180, or Atlantic, 
1895, Vol. 75, pp. 30-38. 

>--^ Elizabeth Stuart Phelps-V\^ard (1844- ) 
• Ja<«^,the-Eisherman: 
-the Fisherman. 

pftfef Sto%ve ( 181 1-1896) 
OM'sXlABlij: ' 
K^^snig in'Uncl"e';'rem's Cabin, ch. 4, pp. 22- 




4& 



v;'7: 






^^^M^^:^' 



-*:'*-ii.v'^ _ 



LOCAL PORTRAITURE 149 

In the Showing the Feelings of Living Property on Chang- 

^°"^^ ing Owners, ch. 5, pp. 35-44. 

Eliza's Escape, ch. 8, pp. 70-86. 

Topsy, ch. 20, pp. 264-280. 

The Slave Warehouse, ch. 30, pp. 365-482. 

Gassy, ch. 33, pp. 392-399. 

Thomas Nelson Page (1853- ) 
Marse Chan: 
Marse Chan. 

Joel Chandler Harris (1848- ) 
Uncle Remus: 

Reconstruction, pp. 201-214. 

Uncle Remus Initiates the Little Boy, pp. 3-7. 

Wonderful Tar-baby Story, pp. 7-1 1. 

How the Rabbit Was Too Sharp, pp. 1 6- 1 9. 

Ruth McEnery Stuart 

The Golden Wedding and Other Tales: 
The Widder Johnsing, pp. 95-126. 
Jessekiah Brown's Courtship, pp. 189-214. 

George W. Cable (1844- ) 

Old Creole Days: * 

" Posson Jone", pp. 149-175. 
Jean-ah Poquelin, pp. 179-209. 

Mary N. Murfree (1850- ) 
In the Tennessee Mountains: 

Drifting Dowo^Lost Creek, pp. 1-79. 

Dancin' Pai^y at Harrison's Cove, pp. 215-246. 

James Lane A|len (1849- ) 
The CHOii Invisible: 

A Kentucky Girl, ch. i, pp. 1-6. 
A Kentucky Town, ch. 2, pp. 7-25. 
Tlie Cougar, ch. 10, pp. 132-142. 



I50 LOCAL PORTRAITURE 

In the Mrs. Falconer, ch. 13, pp. 182-208. 

^""^^ The Forest, ch. 15, pp. 223-236. 

Chivalry, ch. 20, pp. 299-316. 

A Wedding, ch. 21, pp. 317-340. 

The Reign of Law: 
The Hemp, pp. 3-23. 
David Gray, ch. 10, pp. 157-164. 
His Home Life, ch. 12, pp. 174-193. 
The Stonn, ch. 14, pp. 208-237. 
Gabriella, ch. 15, pp. 238-275. 

In the Francis Bret Harte (1839-1902) 



West 



Luck of Roaring Camp and Other Stories: 
Luck of Roaring Camp, pp. i-iS. 
Outca.sts of Poker Flat, pp. 19-36. 

Mary Hallock Foote ( 1847- ) 

The Cup of Trembling and Other Stories: 
The Cup of Trembling, pp. 1-53. 
Edward Eggleston (1837-1902) 
The Hoosier Schoolmaster: 

Spelling Down the Master, ch. 4, pp. 39-55. 
Hamlin Garland (i860- ) 
Wayside Courtships: 

Before the Low Green Door, pp. 253-262. 
A Member of the Third House: 

"The Gutter-snipe Must Rise," ch. 4, pp. 48-65. 
Alice French (1850- ) 

Stories of a Western Town: 
The Face of Failure, pp. 43-S9. 
Henry B, Fuller (1857- ) 
The CliI'I- Dwellers: 
Litioductiun, pp. 1-5. 



LOCAL PORTRAITURE 151 



I" tl^e The Tenth Floor, pp. 6-19. 

The Twelfth Floor, pp. 46-59. 



In the 
Middle 

States Gallegher and Otiier Stories: 



Richard Harding Davis (1S64- ) 



Gallegher, pp. 1-57. 

Van Bibber and the Swan-boats, pp. 203-210. 

Van Bibber and Others: 

Van Bibber's Man-servant, pp. 37-43. 

Margaret Deland (1857- ) 

Mr. Tommy Dove and Other Stories: 
At Whose Door ? pp. 160-200. 

Brander Matthews (1852- ) 
Outlines in Local Color: 

A Letter of Farewell, pp. 19-32. 

The Vigil of McDowell Sutro, pp. 91-114. 

Paul Leicester Ford (1865-1902) 
Honorable Peter Stirling: 

His First Client, eh. 12, pp. 52-56. 
The Case, ch. 13, pp. 56-60. 
New York Justice, ch. 14, pp. 61-64. 
The Fight, ch. 15, pp. 65-71. 



152 LOCAL PORTRAITURE 

<)}us$tions on Cocal ^ortraitttrc 

1. What was the effect of the Civil War upon the barriers 

to a complete understanding and sympathy, between 
different parts of the country ? 

2. What remarkable opportunities in America for a realism 

that portrays characters, distinctive of special parts of 
the country ? 

3. What literary form has been used for most of these local 

portraitures ? 

4. What is the difficulty in portraying the American type? 

5. In "Criticism and Fiction," pp. 131-133, what rank 

does Mr. Howells give to the short story in America ? 

(a) Why might it be argued that it was peculiarly 
adapted to the American temperament? (b) What 
part has the success of the American magazine, played 
in the development of the short story ? 

6. What writer has led in the portraiture of New England 

characters ? 

7. In "Gentian" what condition of Alfred Toilet leads 

Lucy to deception ? (a) What struggles of conscience 
lead her to a foolish telling of the truth ? (b) How 
does Alfred's stubbornness become pitiably grotesque ? 

8. In "The Conquest of Humility" what stern accept- 

ance of covert ridicule, galling sympathy, and 
betrayed trust did Delia show ? (a) What conscien- 
tious, vicarious atonement did Laurence Thayer offer ? 

(b) What sudden change showed the substratum of 
tenderness in an iron nature? 

9. How are Miss Wilkins's stories characterized by an 

unsparing portrayal of the New England will and con- 
science that has run to excess, or grotesqueness ? 



LOCAL PORTRAITURE OF NEW ENGLAND 153 

10. How does the pathos in these charaxters save them from 

being unpleasant ? 

11. How is the native strength of the Puritan character 

revealed here — but revealed, exercised upon petty 
issues ? 

12. What mastery of the terse, short sentence does Miss 

Wilkins's style show? 

13. Who is the novelist of the northern New England coast 

as Celia Thaxter is its poet ? 

14. In "The White Heron " what picture of a little New 

England girl full of wood-lore? (a) What " hand of 
the great world was put out to her " ? (b) Why did 
she thrust it aside ? (c) Against what charming 
nature background is the story set ? 

15. In "The Dulham Ladies" what picture of the pedigree 

and importance of the chief characters? (a) What 
evidences of lost social ascendancy steal in ? (b) AVhat 
pathos and humor in the efforts to "observe the 
fashions of the day" ? (c) How is the spirit of the 
gentility in a decaying seaboard town brought out 
here? 

16. What newer writer is presenting these portraits of a 

phase of New England character? 

17. In "A Second Marriage" what portrayal of the New 

England punctiliousness in showing " proper respect 
for the dead ' ' ? (a) What revival of old associations 
by Aunt Ann? (b) What passionate absorption in 
her own spiritual inheritance, made Amelia forget 
Laurie's pain? 

18. In "Joint Owners in Spain" what suggestion as to 

solving the "chronic difficulty" at the Old Ladies' 



154 LOCAL PORTRAITURE OF NEW ENGLAND 

Home? (a) What disappointment came to Mrs. 
Blair as she searched for her "bunnit" ? (b) How 
did a piece of chalk preserve the New England inde- 
pendence and reserve? (c) How was the truth of the 
situation forced on INIrs, Mitchell ? (d) What per- 
manent solution did a ' * house of fancy ' ' make in the 
Old Ladies' Home ? 

19. How does Miss Brown's work seem to be characterized 

by a subtle appreciation of the power of imagination 
in the New England woman ? 

20. What writer knows the life of the Gloucester fishermen — 

that life studied by Kipling in "Captains Cour- 
ageous ' ' ? 

21. In "Jack the Fisherman" what picture of the typical 

heredity and boyhood of such a calling ? (a) What 
did the church do for Jack? (b) What part does the 
" Rock of Ages " play in Jack's marriage and reform ? 
(c) What picture of the hard life of the fisherman's 
wife? (d) How did Teen keep her promise ? (e) How. 
does Jack find out what he has done? (f ) What sym- 
bolism in the tattooed crucifix on Jack's arm? 
(g) What faith of Mother Mary baptizes Jack's 
child ? 

22. How does this work show a peculiar intensity that leads 

to an emotional quality in Mrs. Ward's style? 

23. What New England writer portrayed a typical phase of 

American life, now passed away, and in so doing 
helped to make history ? 

24. In " Uncle Tom's Cabin " what portrayal of the happy, 

comfortable life of the slave, introduces Uncle Tom ? 

25. What picture of what e\en a kind master was forced 



LOCAL PORTRAITURE OF THE SOUTH 155 

to do? (a) Howdo^s nature speak in Eliza, and duty 
in Uncle Tom ? 

26. What picture of the pursuit of a slave? 

27. In " Topsy " what picture of another kind master? 

(a) How does a New England woman grapple with 
the question of personally educating a black ? 

28. What picture of an auction sale of slaves? 

29. What picture of Legree's cotton-plantation, and a negro 

overseer ? 

30. How does the persistent vitality of this book prove its 

genuine power? 

31. What two Southern writers show the kindlier phases of 

slavery ? 

32. In '' Marse Chan" what picture of " Marse Chan's 

dawg ' ' strikes the keynote of the story ? (a) What 
picture of the "duel" shows Southern honor? (b) 
What portrayal of ' ' Miss Anne ' ' shows the family pride 
of the Southern women? (c) How was it that " Miss 
Anne" sent a letter? (d) What picture of "'Marse 
Chan" coming home? (e) What question, that 
shows how ' ' Marse Chan ' ' is remembered by the 
faithful negro, closes the story? (f) How does the 
beauty and pathos of this tale gain in simplicity and 
strength from the old servant's dialect? 

33. What story does "Uncle Remus" tell from the stand- 

point of a Southerner? (a) What picture of his 
guarding " Ole Miss and Miss Sally fom de Yankees ' ' ? 

(b) Why did he shoot a man fighting to free him — a 
Union soldier? (c) What recompense did Uncle 
Remus give the soldier for that bullet ? 

34. With what story did Uncle Remus initiate the little boy 



156 LOCAL PORTRAITURE OF THE SOUTH 

into the legends of the Old Plantation? (a) What 
effort did ' ' Brer Fox ' ' make "to be frens en live 
naberly" with "Brer Rabbit"? (b) How did 
' ' Brer Rabbit ' ' get the better of him ? 

35. What was the Tar-baby ? (a) How did " Brer Rabbit " 

" larn it ter talk ter 'spectable fokes ' ' ? (b) Why did 
"Brer Fox" laugh " twel he couldn't laugh no 
mo' "? 

36. What was " Brer Fox's " original intention in disposing 

of "Brer Rabbit" and the Tar-baby? (a) What 
was the one thing ' ' Brer Rabbit ' ' did not wish done ? 

(b) How did " Brer Fox" know " he bin swop off" ? 

37. What quaint and homely humor of the negro comes out 

in Uncle Remus ? 

38. What contribution to folk-lore has Joel Chandler Harris 

made in these stories ? 

39. How is the fable characteristic of the negro, in that he 

selects as his hero the weakest and most harmless of 
animals ? 

40. How does helplessness and mischievousness triumph in 

every case ? 

41. What writer has portrayed the "society life" of the 

colored people since the war ? 

42. In " Widder Johnsing " what picture of the waiting for 

the formal announcement " the corpse is prepared 
to receive 'is friends" ? (a) How could the extent 
of the widow's grief at the funeral be measured? (b) 
What voluntary isolation did her widowhood show? 

(c) How did she succeed in getting the young 
minister to look especially after her spiritual welfare ? 

(d) What part did her cooking, and her bottles of 



LOCAL PORTRAITURE OF THE SOUTH 157 

beer play ? (e) To what triumphant announcement 
was her conversion a preliminary ? 

43. (a) In " Jessekiah Brown's Courtship" Avhat experience 

at a cake-walk made Jessekiah register a sacred vow 
to marry? (b) His "decided indecision" suggested 
what superstitious plan ? (c) What was the answer to 
his prayer ? (d) What progress did he make toward 
keeping his vow? (e) What made him " los' the 
thread of his speech" ? (f) What mutual congratu- 
lations were exchanged by Jessekiah and Fat Ann ? 

44. How do these stories show the love for grandiloquent 

formalities, in the social life of the negro ? 

45. What writer has pictured the Creole life in Louisiana? 

46. In " Posson Jone " what trifling accident introduces St. 

Ange to Parson Jones? (a) What scruples of con- 
science arise that are iinally overruled by St. Ange ? 
(b) What picturesque assemblage gathered at the 
bull-fight that Sunday in New Orleans? (c) How 
does " Posson Jone" make "the tiger and' huffier 
lay down together ' ' ? (d) By what artifice did St. 
Ange induce him to leave the prison ? (e) What 
direct answer to prayer did Parson Jones receive, and 
his friends witness ? 

47. How is the religious atmosphere used with a humorous 

effect ? (a) How is the aboriginal humanity that lies 
underneath any differences of faith, or language, 
brought out by this tale ? 

48. In " Jean -ah Poquelin " what portrayal of the swamp 

land of Louisiana? (a) What dark suspicion fell 
upon old Poquelin ? (b) What portrayal of the march 
of American civilization into an old French tov/n? 



158 LOCAL PORTRAITURE OF THE SOUTH 

(c) What picture of a charivarH (d) How was 
the mob hushed? (e) What lonely procession is 
watched out of sight ? 

49. Does Cable's use of the Creole English give a unique 

charm to these stories ? 

50. What writer has chosen the remote mountain districts of 

Tennessee for her field ? 

51. In "Drifting Down Lost Creek" what description of 

Evander Price reveals how far behind in civilization 
these mountaineers are ? (a) What obstacle to love- 
making did C3'nthia's toothless, haggard, lazy mother 
prove ? (b) What took Evander away from the 
mountains? (c) What v/ild, new hope did the spring 
in the mountains rouse in Cynthia's heart ? (d) 
AVhat pilgrimage did she accomplish ? (e) Hov/ did 
she learn that Evander was pardoned? (f) AV^hat 
varying moods, and seasons of the mountains set off 
and transfigure this tragedy of a woman's life? 

52. In the " Dancin' Party at Harrison's Cove" what was 

the feud between Jones and Rick Pearson ? (a) What 
picture of a "first-class coquette" ? (b) What pic- 
ture of the entrance of Rick and his outlaws ? 
(c) What stopped the " dancin' " ? (d) How was 
bloodshed prevented ? 

53. How does this mountain life portrayed by IMiss Murfree 

show how far behind the march of civilization this 
phase of American life has fallen ? 

54. What writer has taken the Blue Grass Region of Ken- 

tucky for his field ? 

55. In "The Choir Invisible" what picture of Amy Fal- 

coner, riding down the avenue of the prirai^val woods, 
shows an old-time Kentucky girl ? 



LOCAL PORTRAITURE OF THE SOUTH 159 

56. What two " far clashing tides of migration " met in this 

border town ? (a) What groups, and solitary figures, 
suggest the meeting of civilization with the primitive 
forest ? (b) What picture of a log-house and a gen- 
tlewoman who works with her own hands ? 

57. What encounter in the schoolhouse with a cougar, shows 

how near was the savage life of the forest ? 

58. What vista of scenes shows what Mrs. Falconer's child- 

hood, girlhood, and womanhood had been ? 

59. What picture of the " ancient woodland street of war" 

and two men fighting out their brute strength ? 

60. What triumph of fierce pride and honor shows the 

affinity between the chivalry of King Arthur's knights, 
and the nobility of this man and woman ? 

6 1 . What picture of the wedding customs of early Kentucky? 

62. In "The Reign of Law" what historic description 

shows the part hemp has played in Kentucky's devel- 
opment ? (a) What nature description show^s the 
"round year of the earth's ciianges that enter into the 
creation of the hemp ' ' ? (b) What symbolism in it ? 
6^. What picture of a solitary "breaker" at work in the 
hemp field, and the beacon fire in the sky ? 

64. What desolateness in David's home shows how a great 

nature may grow^ up in spite of environment ? 

65. What picture of the ice-rain and great frost, and the 

damage it wrought ? 

66. How is Gabriella a child of the revolution? (a) What, 

in the history of Southern womanhood, does her sup- 
port of self signify ? (b) How are she and Mrs. Fal- 
coner counterparts — although a hundred years lie 
betvi^een them? 



l6o LOCAL PORTRAITURE OP^ THE WEST 

67. How has James Lane Allen more than any other Ameri- 

can writer, embedded his stories in nature ? 

68. How is nature in his stories, not a background for action, 

but involved in the action itself? 

69. How does his style of unusual beauty show (a) a rich- 

ness of texture? (b) a singular deliberation? (c) a 
strong emotional quality? 

70. What writer, by his stories of the California gold-dig- 

gers, was the first to introduce the West into liter- 
ature ? 

71. In " The Luck of Roaring Camp " what picture of the 

''roughs" contributing "toward the orphan"? 
(a) What picturing of the christening of the child, 
shows irreverence prevented? (b) What signs of 
regeneration appear in the camp ? (c) What pros- 
perity came to the camp? (d) Why will the "winter 
of '51 be long remembered among the foot-hills"? 
(e) What straw did Kentuck cling to as he "drifted 
away on the shadowy river ' ' ? 

72. In "The Outcasts of Poker Flat " what "spasm of vir- 

tuous reaction ' ' sent out a strange cavalcade ? (a) Why 
danger in a halt at that time of the year ? (b) What 
innocent addition to the camp ? (c) In what trap did 
Uncle Billy's rascality place the party? (d) What 
fine adaptability to innocence did the "outcasts" 
show? (e) What harmless amusements of an accor- 
dion and Homer helped pass a week ? (f ) What sac- 
rifices and heroism came from sin-begrimed natures? 
(g) Who was the "strongest and yet the weakest " 
in the company ? 

73. How do these stories show the spiritual element in birth 

and death, felt even in rough communities ? 



LOCAL PORTRAITURE OF THE WEST i6i 

74. What fine repression in Bret Harte's style makes every 

word help to cut the cameo-like sketches ? 

75. What writer has shown a more recent mining life in 

Colorado and Idaho ? 

76. In "A Cup of Trembling" what picture of the young 

brother going up the Dreadnaught road to a miner's 
log cabin ? (a) What picture of Jack and his isola- 
tion with Esme — walled in by the snow ? (b) What 
knowledge came to the young brother when he 
knocked in vain? (c) How did Jack find out his 
brother had been to the cabin ? (d) What common 
misery drew Jack and Esme apart ? (e) What watch 
was she left to keep ? (f ) What warning of the aval- 
anche did she have ? (g) What choice saved her from 
" the long life to the end" ? 

77. What writer has dealt with the rude life of Indiana when 

it was the remote frontier ? 

78. In " Spelling Down the Master ' ' what opinion of ** book 

larnin' ' ' had Mrs. Means ? (a) What part did a 
spelling-school play in the society of Hoopole County? 
(b) What picture of Squire Hawkins and his elo- 
quence? (c) What was the method of choosing 
sides? (d) What able opponent had the master in 
Jim Phillips? (e) How did " ole Mis' Meanses 
white nigger win ' ' ? 

79. What writer has dealt with the dead level of existence 

in the farming communities of the West? 

80. In "Before the Low Green Door" what picture of the 

hard, wearisome life of Matilda Bent, is portrayed in 
that communion with her friend? (a) What revul- 
sion of feeling speaks volumes? (b) How does the 



i62 LOCAL PORTRAITURE OF THE WEST 

Starved imagination go back to girlliood, as rest comes 
after thirty years of ceaseless toil ? 

8 1 . In " The Gutter-snipe Must Rise ' ' how is Brennan shown 

to be a product of American society? (a) What 
approach did he make to Senator Ward? (b) By 
what arguments did he overcome the Senator's "old 
fashioned notions " ? (c) AVhat demand did Brennan 
make of the Railway Duke ? (d) How could the 
' * gutter-snipe ' ' assure his rise ? 

82. What characterization of the energy and self-confidence 

of a Westerner is made here by Mr. Garland? 

83. Under what pseudonym has Alice French written stories 

of Western life ? 

84. In " The Face of Failure " what picture of a melon 

farm in Iowa? (a) What victim of mortgages was 
Uncle Nelson? (b) What question did he have to 
settle? (c) What does he learn of Miss Alma's life 
as a business woman? (d) What story of his life 
does he tell her? (e) Why can he not accept 
Miss Alma's proposition? (f) How does Tim hope 
to pay off the mortgage ? 

85. What picture of the material from which the Farmers 

Alliance and single-tax men are recruited ? 

86. What writer has shown the congestion and rush of life 

in the greatest city of the West ? 

87. In the "Introduction " what description of the "Clifton " 

shows its analogy to the homes of the Cliff Dwellers ? 

88. In "The Tenth Floor" why is the ofifice of the Massa- 

chusetts Brass Company the gem of the establishment ? 
(a) How are "company" and "family" shown to 
be exchangeable terms? (b) What picture of the 



LOCAL PORTRAITURE OF THE MIDDLE STATES 163 

"social exchange" that goes on here? (c) Why 
does Walraven regard his assignment to the West as a 
" mild sort of punishment " ? 

89. In "The Twelfth Floor" what picture of a nervous, 

excitant Westerner? (a) Hov/ did he make Nev/ 
England seem " small, provincial, and left -behind " ? 
(b) What novitiate did Ogden go through to get used 
to the " human maelstrom " of Chicago? (c) What 
picture of the exterior and interior of a home in 
accord with " local society " ? 

90. What writer made his reputation by showing a phase of 

life connected with the newsgathering for a great 
Eastern daily? 

91. In " Gallegher " what is shown to be the chief charac- 

teristic of the unusual office boy ? (a) What " reason- 
ing of Gallegher" impresses the staff ? (b) How did 
he happen to play truant? (c) What detective work 
did he do on his own account ? (d) With what plan 
did the sporting editor, Byrne's man, and Gallegher 
attend the "big fight"? (e) What two pieces of 
acting by Gallegher evade the whole police force? 
(f ) How did he ' ' beat the town ' ' and bring ' ' Dwy- 
er's copy " ? 

92. In what other stories has this writer shown the life of 

the "smart set " in New York? 

93. What picture of Van Bibber's man, Walters, shows why 

he could be mistaken as a member of the Few Hun- 
dred ? (a) What dinner did he order at Delmonico's ? 
(b) What temptation came to him ? (c) What meet- 
ing of master and man at the " cafe " ? (d) What 
comment of Van Bibber shows his characteristic 
nonchalance ? 



i64 LOCAL PORTRAITURE OF THE MIDDLE STATES 

94. With what pity does Van Bibber look on the park 

amusements for "ordinary people"? (a) What 
chatter of the little East-side girls interests him ? (b) 
What kindness of heart makes him go through an 
ordeal ? (c) What smile of understanding from The 
Girl He Knew made him buy "yards" of tickets 
for the swans? (d) How is the sympathy and tender- 
ness here, felt rather than expressed ? (e) How does 
Van Bibber himself stand as a delightful being — brave, 
witty, affable, and intensely aristocratic ? 

95. What writer has shown the placid life in country to\vns 

of Pennsylvania? 

96. In " At Whose DooV ? " why was Mary's conduct in 

marrying Henderson Dudley puzzling to the Friends ? 
(a) What double nature in the child perplexed 
the Quaker aunt? (b) What picture of the serene 
quiet of the Quaker home? (c) Why does Rachel 
decide to go to the theatre? (d) How is Rachel's 
confession of deceit received by her aunt ? (e) What 
picture of Rachel's appeal to Roger and his cool 
calculation ? (f ) How does her " childish impatience 
to end pain" leave her still misunderstood? (g) 
Was the Quaker training in fault ? 

97. What writer has shown some of the phases of life among 

the "unemployed" in Manhattan? 

98. In "A Letter of Farewell" what picture of Pat Mc- 

Cann's saloon, and the political power of the saloon- 
keeper? (a) What kindness in treatment has Mr. 
Malone after his " bad shock " ? (b) What does the 
letter show his life has been ? (c) How does he use 
the money for which he pawned his watch ? (d) 
What does he do with his last quarter ? 



LOCAL PORTRAITURE OF THE MIDDLE STATES 165 

99. Why was McDowell Siitro so anxious to get a letter? 
(a) From the park bench on Union Square, what 
sights tantalized his hunger ? (b) What casual strayers 
ask him to ''take a drink"? (c) At what hotel 
does he stay all night " ? (d) How did he earn his 
breakfast? (e) What reply from the post-office clerk 
had he nerved himself to hear ? 

100. What writer has shown some political phases of New 

York life? (a) In "Peter Stirling" why does a 
certain tenement and a doctor's analysis of milk make 
Peter Stirling take a client ? ( b) What was the result 
of Stirling's inspection of the cow-stables of the 
National Milk Company? (c) What difficulty in 
finding an owner of the company ? 

10 1. What methods of New York justice are brought to light 

by Mr. Dummer'swish to settle? (a) What attitude 
of the District Attorney shows the meaning of 
' ' shelved indictments ' ' ? 

102. How did an appeal to the governor provide for the 

prosecution of the case ? 

103. What was the one "dramatic incident" in the case? 

(a) What effective conclusion ended Stirling's argu- 
ment ? 

104. Do all these different phases of American life hold any- 

thing in common ? 



National lEta; ^tose IFictiott 
Syllabus H « 

SIcetiel of SEuropean IDife 

AND 



Novel of Blanche Willis Howard Teuffel (1847-1898) 

European 

Life 

Plouvenec, ch. I, pp. 1-22. 

Village Gossip, ch. 2, pp. 23-53. 

" Passeur," ch. 7, pp. 100-112. 

Thymert, ch. 9, pp. 140-164. 

The Atelier, ch. 12, pp. 220-243. 

A Harvest, ch. 13, pp. 244-275. 

Forebodings, ch. 16, pp. 319-329. 

Francis Marion Crawford (1854- ) 
Saracinesca : 

The Palace, ch. 3, pp. 27-41. 

Corona d'Astrardente, ch. 6, pp. 6S-8j. 

The Duel, ch. 12, pp. 149-163. 

Sant' Ilario: 

A Plan, ch. 12, pp. 177-192. 
Exposure, ch. 30, pp. 423-434. 

Don Orsino: 

New Italy, ch. I, pp. I-15. 
Orsino, ch. 2, pp. 15-31. 
The Jubilee, ch. 5, pp 64-81. 
(166) 



THE HISTORICAL NOVEL 167 

The Mary Hartwell Catherwood (1847- ) 

Historical 

Novel Romance of Dollard: 

The Husband, ch. 4, pp. 29-46. 
A River Cote, ch. 6, pp. 57-68. 
Bollard's Confession, ch. 12, pp. 109-117. 
Massawippa, ch. 14, pp. 128-145. 
' The Heroes of Long Sault, ch. 19, pp. 186-198. 

(Gen.) Lew Wallace (1827- ) 
Ben Hur: 

A Roman Sea Battle, Book Third, chs. 4 and 5, 

pp. 148-161. 
A Chariot Race, Book Fifth, ch. 12, pp. 349-355; 

ch. 14, pp. 362-370. 
The Lepers, Book Sixth, ch. 2, pp. 392-403; ch. 

4, pp. 409-423; Book Eighth, ch. 4, pp. 492- 

499. 

Arthur Sherburne Hardy (1847- ) 

Passe Rose: 

Passe Rose Herself, ch. 2, pp. 16-25. 
Gui of Tours, ch. 3, pp. 25-35. 
Friedgris, ch. 8, pp. 95-107. 
A King's Daughter, ch. 10, pp. 131-145. 
Karle Himself, ch. 23, pp. 313-339. * 

Beulah Marie Dix 
Hugh Gwyeth: 

How One Set Out to Seek His Fortune, ch. 2, pp. 

16-33- 
The End of the Journey, ch. 6, pp. 81-94. 
Beneath the Roof of Everscombe, ch. 20, pp. 324- 

339- 
The Fatherhood of Alau Gwyeth, ch. 21, pp. 340* 

357- 



1 68 THE HISTORICAL NOVEL 

The (Dr.) Silas Weir Mitchell (1829- ) 

Historical 

j^o^gj Hugh Wynne: 

Washington at Valley Forge, Vol. 2, ch. 3, pp. 

• 46-55- 
Benedict Arnold, Vol. 2, ch. 8, pp. 121-137. 
John Andre, Vol. 2, ch. 9, pp. 138-164. 

Mary Johnston (1870- ) 
To Have and To Hold: 

In Which I Meet Master Jeremy Sparrow, ch. 2, 

pp. 9-17. 
In Which I Marry in Haste, ch. 3, pp. 18-26. 
In Which We Prepare to Fight the Spaniard, ch. 
7, PP- 57-66. 

Audrey: 

The Cabin in the Valley, ch. i. 
Darden's Audrey, ch. 3. 

Winston Churchill (1871- ) 
Richard Carvel: 

A Man of Destiny, ch. 19, pp. 174-183. 
How the Gardener's Son Fought the Serapis, ch. 
42, pp. 475-489- 

The Crisis: 

Abraham Lincoln, Book 2, ch. 2, pp. 123-132. 
In Which Stephen Learns Something, Book 2, ch. 

3, PP- 133-140. 
The Question, Book 2, ch. 4, pp. 141-147. 
The Crisis, Book 2, ch. 5, pp. 148-160. 
The Man of Sorrows, Book 3, ch. 15, pp. 499- 

515- 



NOVEL OF EUROPEAN LIFE 169 

O^uestions xtn tf^e S^osael of Suropftan Stifc 
mift If^s SUlstorltal ^ouet 

1. The realistic movement which has expressed itself in 

these local portraitures, has also shown itself in what 
studies of foreign life ? 

2. In " Guenn " what picture of the Breton village of 

Plouvenec, and the fisher-folk, and of Guenn herself? 

3. What picture of the interior of Guenn' s strange, dark, 

little Breton home ? (a) At what ' ' assemblage of her 
peers did she arrive late " ? (b) What village com- 
ments on artists' taste in color ? (c) What comment 
by Jeanne on the picture of old Josephe with her dis- 
taff? (d) How does Guenn show her contempt of 
painters? (e) What "bit of especial malice" satir- 
izes the jealousy of the women ? 

4. What response came to Hamor's cry for * ' Passeur " ? 

(a) How does Guenn receive his offer to have her 
pose for him ? (b) What unconscious attraction and 
repulsion does she feel for Hamor ? 

5. What picture of the priest of the fisher-folk — a priest 

who loves Virgil ? (a) What unfortunate topic does 
Hamor introduce at the breakfast ? (b) What defence 
does Thymert make for Guenn ? 

6. What orders did Guenn' s father give her and how did he 

emphasize them? (a) What violent entrance into 
Hamor's atelier? (b) In what diplomatic fashion did 
Hamor make her at home ? (c) What tale of martial 
spirit does Hamor's untruth about the boxing-gloves 
bring out from Guenn ? 
y What sympathetic model did Guenn become ? (a) What 
sent her "in a fine fury flying over the churchyard 



lyo NOVEL OF EUROPEAN LIFE 

wall " ? (b) What appeal did Hamor make that won 
Guenn's "highest effort at any cost"? (c) What 
was the plan for the ''salon picture " ? (d) What 
inexpressible pain came to the priest as he visited 
Hamor' s atelier? 

8. What to Guenn were the two worst sins? (a) What 

idle, kindly talk of Hamor cut her to the heart ? 

(b) What caprice of the moment did Hamor obey? 

(c) What maidenly instinct of Guenn gave him an 
unexpected answer ? (d) How has this story, by 
its strong analysis of both peasant and artist, become 
almost an American classic ? 

9. What writer has presented an important study of Italian 

life, customs, and conditions, in a series of novels 
dealing with three generations of a family ? 

10. In "The Palace" what picture of the solemn magnifi- 

cence that savored of feudal times, in which Prince 
Saracinesca and his son lived? (a) What picture of 
a fiery father ? (b) What difference of temperament 
in the son ? 

11. In " Corona " what picture of the education of Corona? 

(a) What picture of the monk's keen insight into 
character? (b) What meeting between Corona and 
Donna TuUia? 

12. In "The Duel " why did Del Ferice think it necessary 

to kill his antagonist ? (a) What difference in the 
style of fencing of the duellists ? (b) What foul play 
took place? (c) Why could Giovanni continue after 
his right arm was wounded ? 

13. In " Sant' Ilario " what was Prince Montevarchi's plan 

for a forgery ? (a) How was Meschini the agent to 
carry it out? 



THE HISTORICAL NOVEL 171 

14. What picture of the final meeting for a transfer of the 

Saracinesca property ? (a) How does the knowledge 
of the forgery come to light? (b) What honor in the 
innkeeper cousin ? 

15. In "Don Orsino " what picture of New Rome under 

United Italy ? (a) What distinct parties ? 

16. In ''Orsino" what picture of the education the Italian 

noble receives ? (a) What is the life that Orsino says 
he has to live ? 

17. In "The Jubilee" what picture of the interior of St. 

Peter's? (a) What picture of Leo XIII.? 

18. How is the charming style of Marion Crawford at its 

very best in these novels of Italian life ? 

19. In the last decade how has the historical novel divided 

with the ' ' short story ' ' the honors of popularity ? 

20. Yet how has the realistic movement made it very different 

from the historical romance of ante-bellum days ? 

2 1 . What novelist has taken for her field that portion of his- 

tory which Francis Parkman has covered ? 

22. In "Romance of Dollard " what picture of a censit- 

aire choosing his wife? (a) How does Monsieur 
Dulac, Commandant of Montreal, persuade Claire not 
to go back to the convent ? 

23. In " A River Cote " what picture of a missionary priest, 

Dollier de Casson, of New France, and the solemn 
performance of his religious duties ? 

24. In " Bollard's Confession " what does Dollard tell Claire 

of the Iroquois? (a) What solemn oath had he taken 
even before he went to Quebec ? (b) To whose pro- 
tection did he leave Claire ? 

25. In " Massawippa " what picture of what the convent 



172 THE HISTORICAL NOVEL 

tried to do for the Indian girls? (a) What guide 
answered Clnire's prayer to the Virgin? (b) What 
motive inspired the half-breed and "demoiselle"? 

26. How many heroes were gathered at Long Sault to meet 

the Iroquois ? (a) What welcome did the chief give 
his daughter? (b) What was the reunion of Bollard 
and Claire? (c) What confession did Claire make? 

(d) How was the splendid defence of four days made 
against the Iroquois? (e) What desertion by the 
Hurons weakened the force that was to hold out three 
days more ? (f ) Who were the heroes of Long Sault ? 
(g) What part did this devotion play in the history of 
Canada ? 

27. What writer has taken the historic time of Christ for the 

field of his novel ? 

28. In *' A Roman Sea Battle " what picture of the gather- 

ing of the Roman and pirate fleets ? (a) What pic- 
ture of the slaves who rowed these galleys ? (b) Why 
were the slaves chained to their benches ? (c) What 
preparations were made for the fight ? (d) How did 
the idea of a fleet in manoeuvre break upon Ben Hur? 

(e) What made him think the beak of the Roman had 
won? (f) What knowledge that the Astrea was 
boarded ? (g) What picture of the sinking boat ? 

29. In "A Chariot Race " what description of the specta- 

tors assembling in the circus ? (a) What description 
of the procession making the circuit of the course ? 
(b) What part did nationality play in deciding on the 
horses to be preferred ? (c) Why did Ben Hur yield 
the wall to the Roman for a time ? (d) What was the 
effect of Messala's blow? (e) How were the rounds 



THE HISTORICAL NOVEL 173 

officially told off? (f ) What design did Ben Hur 
execute ? (g) What urging cries to his Arab steeds ? 

30. In "The Lepers" what scheme had isolated mother and 

daughter eight years ? (a) Why was the freedom 
for which they had prayed and dreamed ''an apple of 
Sodom in their hands ' ' ? (b) What picture of the 
insidious growth of the horrible disease ? (c) How 
is its hideousness shown in the appearance of mother 
and daughter? (d) How, by the sacrifice they make? 

(e) What description of the coming of the Nazarene ? 

(f) Why were the lepers' cries drowned? (g) What 
cry of the crowd turned the Nazarene' s attention to 
the Avoman? (h) What transformation took place? 
(i) What restoration came to Ben Hur? 

31. What writer has pictured the times of " that sun shining 

between two nights of barbarism and feudality" — 
Charlemagne ? 

32. In "Passe Rose" what picture of a dancing girl who 

had followed the banners of Karle's army? (a) 
What safe and quiet life was she now leading? 

33. In " Gui of Tours" why did Passe Rose go into the 

woods in spite of wood-fays? (a) What makes her 
flee? (b) What picture of one of Karle's captains? 

34. How does Friedgris, the abbey porter, in dreams, review 

the captive train of Karle's army? (a) What picture 
of the two powers of the age standing face to face — 
in Rainal, and Robert, Count of Tours? (b) How 
did the dreamed awakening, accord with the real one ? 

35. What picture of the princesses of Karle's household 

chatting over their needlev/ork ? (a) What picture 
of Rothilde, the Saxon captive? ' (b) What picture 
of " a girl who dared the will of Karle ? " 



174 THE HISTORICAL NOVEL 

36. What picture of Karle himself listening to the reading 

of his favorite book? (a) What thoughts may run 
through his mind ? (b) What tale of a plot against 
his life does Pusoc Rose tell ? (c) How did Agnes of 
Solier show '' she was in truth a king's daughter " ? 

37. What individualization of characters, and epigrammatic 

style make this novel of unusual strength ? 

38. In its ability to call up a life, turbulent yet full of poetry, 

how does it suggest the remarkable work of Maurice 
Hewlett in " Richard Yea and Nay " ? 

39. What writer has taken the times of the Royalists and 

Parliamentarians for her field ? 

40. In "Hugh Gwyeth " what picture of a Roundhead 

household ? (a) Why is Master Oldsworth a fine 
type of Puritan ? (b) What makes Hugh leave the 
Everscombe manor-house ? 

41. In "The End of the Journey " what raid on the " inn 

folk ' ' gets the aqua vitce for Strangwayes ? (a) What 
was the outcome of the meeting with the King's 
captain ? 

42. In " Beneath the Roof of Everscombe" what were some 

of the methods of torture used by the Roundheads? 
(a) Who rescued Hugh? (b) A¥hat news does Hugh 
hear as he is a captive ? (c) What way of release 
comes ? 

43. How does Hugh get to Rainsford church to deliver his 

message? (a) What "trouble does the captain take 
to get him " ? (b) What share in this defence of the 
Cavaliers does Hugh have ? 

44. What dash of incident, and vigor of style, give the work 

of Miss Dix an unusual virile quality? 



THE HISTORICAL NOVEL 175 

45. What writer has taken the action of the Revolutionary- 

War, centred largely at Philadelphia ? 

46. In ''Hugh Wynne" what contrast is drawn between 

Hugh's impressions of the troops of Washington at 
Valley Forge, and the grenadier British troops ? (a) 
What was his impression of Washington ? (b) What 
did Jack put on record as to the real George Wash- 
ington ? 

47. What picture of hospitality dispensed in Philadelphia by 

Arnold ? (a) In what deep reverie did Hugh observe 
him? (b) On what "errand of moment" did he 
send Hugh ? 

48. In "John Andre" what evidences are cited of the 

feeling aroused by the fall of Arnold? (a) What 
' ' serene, untroubled visage ' ' did Andre present to 
his visitor? (b) With what letter does he entrust 
Hugh? (c) What does Hugh now learn as to 
"the errand of moment"? (d) What proposition 
to capture Arnold was suggested to Washington? 
(e) With what kindness did he "listen to a rash 
young man " ? (f ) What impression of Washington's 
firmness comes out here ? 

49. How is the eighteenth century style, in which it is 

written, happy in suggesting the formal manners of 
that time ? 

50. What writer has taken the earliest colonial period of 

Virginia history for her field ? 

51. In "To Have and to Hold" what picture of the 

deserted river showed where the interest lay? (a) 
What picture of the various craft anchored off James- 
town shows the concentration of the colonists ? (b) 



176 THE HISTORICAL NOVEL 

What picture of the procession of "Edwin Sandys' s 
Maids" ? (c) What contrast between this scene and 
a similar one in ' '■ The Romance of Bollard ' ' ? 

52. In "In Which I Marry in Haste ' ' what face stood out 

among all the ring of rustics in the church, like 
Perdita at the village festival ? (a) What chivalrous 
defence wins Percy that face? 

53. What picture of the Jamestown people in the palisades? 

(a) What hatred of Spain and Catholicism comes out ? 

(b) What English spirit speaks ? (c) What mustering 
of the Virginia Navy — "David and his pebble"? 
(d) How does the navy resolve itself into a consort ? 

54. In " Audrey " what picture of a pioneer's cabin startled 

by a strange sound ? (a) What joyous company 
"bursts into the sunshine of the valley" ? (b) On 
what expedition was it bound? (c) What halt and 
feast showed the conviviality of Virginia life? (d) 
What drilling of the company took place? (e) What 
" quaint and pleasing title " did the governor give to. 
the "order of knights"? (f) What subtle hint in 
the shadow that fell on the valley at their departure ? 

55. In " Darden's Audrey ' ' what picture of the "ruined town 

of Jamestown on May Day, 1727? (a) What appearance 
of Colonel Byrd and Evelyn Byrd, and Haward shows 
the traveled colonist ? (b) What distinction is drawn 
between the gay world which welcomed the three, and 
the three? (c) By what graciousness was the ice 
thawed? (d) In the race of six girls, what picture 
of Audrey in her dogwood chaplet? (e) How do the 
two, who are in the future to be rivals, have their first 
meeting ? (f ) What departure of the ' ' very especial 



THE HISTORICAL NOVEL 177 

guests * ' before the races, took away the flavor of the 
court and the great world ? 

56. How does Miss Johnston's power to group, to make con- 

trasts, to suggest subtly what is to come, together with 
her finish of style, and idiom of pure English, account 
for the unusual popularity her work is receiving ? 

57. What writer has been equally at home with earlier and 

later periods of American history ? 

58. In " Richard Carvel " what picture of "a man of des- 

tiny ' ' suddenly dropping his Scotch and merchant- 
captain manner? (a) What exploitation of his ward- 
robe reveals a human side ? (b) What story of the 
mutiny showed his courage ? 

59. In the fight with the Serapis, what was the con- 

dition of the Bonhomme Richard to begin with ? 
(a) What fleet came in sight? (b) What prepara- 
tions were made for the resistance? (c) To "Are 
you struck, sir ?' ' what answer of Paul Jones ' ' bred 
hero worship " ? (d) What attack from the treacher- 
ous Alliance increased the odds ? (e) What genius of 
Paul Jones sent back one hundred and fifty released 
prisoners to the pumps? (f) What victory, famous 
in American navy records, was won ? 

60. In " The Crisis" what impression did Stephen Brice 

get of the dignity of the Senatorial Candidate of the 
Republican Party in Illinois ? (a) What picture of 
the inn in the prairie town where he was to find " the 
homeliest man in the room " ? (b) What impression 
did he get of Lincoln from his story of the Quaker's 
apprentice ? 
6i. How did Stephen learn that involuntary "sir" which 



178 THE HISTORICAL NOVEL 

showed the homage thousands of Americans were to 
give this ' ' astonishing man ' ' ? (a) How did Lincoln 
characterize Stephen Douglas's followers ? (b) What 
conversation with the reporter showed a new side of 
Lincoln ? (c) How did Stephen find out that Lin- 
coln was not an abolitionist ? 

62. In "The Question" how did Abe "show the shine he 

had taken to the Bostonian "? (a) What question did 
Abe produce from that tall hat? (b) What superb 
sacrifice struck Stephen Brice? (c) How was the 
story of Farmer Bell shown to be a parable of Douglas 
and Lincoln? 

63. In "The Crisis" what picture of Little Giant and his 

panacea for slavery ? (a) What picture of the vigor 
of the young nation in the banners, delegations, and 
Lincoln's "Basket of Flowers"? (b) What com- 
posed this audience of sixteen thousand listeners to a 
political debate ? (c) What transformation came over 
"the grotesque figure with shrill falsetto voice," a's 
he continued speaking? (d) How did the "Ques- 
tion ' ' show the false construction of ' ' the secret parts 
of the engine that was to run the ship of state ' ' ? 
(e) What scriptural plainness of speech forced the 
truth home? (f) What picture of Lincoln, with a 
child on his lap, shows still another side of his 
nature ? 

64. In "The Man of Sorrows " what picture of the city of 

Washington at the close of the war ? (a) How does 
Captain Lige caution Virginia regarding her interview 
with the President? (b) What precedence of cases 
like hers shows Lincoln's kindness ? (c) What was 



THE HISTORICAL NOVEL 179 

Virginia's first impression of the President ? (d) What 
stories made her think he should have been a comedian ? 
(e) Why did she falter and stop in her tirade at " his 
mercy she had heard of " ? (f ) What allusions to Wash- 
ington's flag, showed the President's '' suffering with 
the South ' ' ? (g) With that quizzical look, what story 
did he tell that showed " what he was going to do with 
the rebels " ? (h) What consciousness of littleness and 
narrowness came to those two, who stood in the pres- 
ence of that greatness and charity which was Abraham 
Lincoln ? 

How does the ability to fuse, into a unified picture, 
such a confused and complex piece of history as the 
Civil War, show the large power of Mr. Churchill's 
constructive skill ? 

To centre the meaning of that struggle, in the character 
of Abraham Lincoln, shows what true conception of 
American democracy? 



The writer wishes to acknowledge her indebted- 
ness to Katharine Lee Bates's American Literature 
(The Macmillan Co.) for the greater portion of the 
subject divisions. For the suggestions, criticism, and 
encouragement during the progress of this book the 
writer is deeply indebted to her colleague, Miss Alice 
M. Brennan. 



(i8o) 



Slndex of ^utftors 



Adams, Henry, 78, 82, 83. 

Alcott, Amos Bronson, 57, 62, 63. 

Aldrich, Thomas Bailey, 28, 31, 32. 

Allen, James Lane, 149, 150, 158-159, 160. 

Austin, Jane, 2. 

Ballads of the Revolution, 7, 10. 

Bancroft, George, 77, 79. 

Barr, Amelia E., 8. 

Bay State Psalm Book, i, 4. 

Beecher, Rev. Henry Ward, 86, 89, 90. 

Bellamy, Edward, 66, 69. 

Boker, George Henry, 43, 49. 

BoUes, Frank, 92, 96. 

Bradford, Governor William, i, 4. 

Bradstreet, Mrs. Anne Dudley, r, 4. 

Brooks, Rt. Rev. Phillips, 86, 90. 

Brown, Alice, 148, 153, 154. 

Brown, Charles Brockden, 7, il, 108, 120 

Browne, Charles Farrar, " Artemus Ward," 107, 112. 

Bunner, Henry Cuyler, 44, 51. 

Burroughs, John, 91, 92, 95. 

Bryant, William CuUen, 13, 18-19. 

Cable, George Washington, 149, 157, 158. 

Calhoun, John C, 85, 87. 

Carleton, Will, 46, 53. 

Catherwood, Mrs. Mary Hartwell, 167, 171, 172. 

Gary, Alice, 46, 52, 53. 

(181) 



i82 INDEX OF AUTHORS 

Gary, Phoebe, 46, 52, 53. 

Channing, Rev. William EUery, 5, 56, 59. 

Churchill, Winston, 8, 12, 17, 168, 177-179. 

Clay, Henry, 85, 87. 

Clemens, Samuel Langhorne, "Mark Twain," 107, 112, 113. 

Cogswell, Frederick Hull, 8. 

Cooke, John Esten, 99, 105. 

Cooper, James Fenimore, 8, 98, 99, 100-104. 

Craddock, Charles Egbert. See Murfree, Mary Noailles, 

Crawford, Francis Marion, 166, 170, 171. 

Curtis, George William, 86, 90, 107, iii. 

Davis, Richard Harding, 151, 163, 164. 

Deland, Mrs. Margaret, 151, 164. 

Dickinson, Emily, 29, ;^^, 34. 

Dix, Beulah Marie, 2, 167, 174. 

Drake, Joseph Rodman, 43, 48. 

Edwards, Rev. Jonathan, 2, 5. 

Eggleston, Edward, 45, 150, 161. 

Emerson, Ralph Waldo, 5, 16, 17, 25, 26-27, 5^, 57, 61-62. 

Everett, Rev. Edward, 85, 88. 

Federalist, 7, 10. 

Field, Eugene, 47, 54. 

Fiske, Professor John, 57, 64, 77, 82. 

Foote, Mrs. Mary Hallock, 150, 161. 

Ford, Paul Leicester, 8, 151, 165. 

Franklin, Dr. Benjamin, 6, 9, 10, 12. 

French, Alice, " Octave Thanet," 150, 162. 

Freneau, Captain Philip, 7, 10, 11. 

Fuller, Henry Blake, 150, 151, 162, 163. 

Fuller, Sarah Margaret (Marchioness d'Ossoli), 57, 63. 

Garland, Hamlin, 150, 161, 162. 



INDEX OF AUTHORS 183 

Gibson, William Hamilton, 92, 95, 96. 

Gilder, Richard Watson, 44, 50, 51. 

Guiney, Louise Imogen, 30, 35. 

Hale, Rev. Edward Everett, 107, m, 112. 

Halleck, Fitz-Greene, 43, 48. 

Hamilton, Alexander, 7, 10. 

Hardy, Arthur Sherburne, 167, 173, 174. 

Harris, Joel Chandler, 149, 155, 156. 

Harte, Francis Bret, 47, 54, 55, 150, 160, 161. 

Hawthorne, Nathaniel, 2, 4, 122-131. 

Hay, Colonel John, 47, 54. 

Hayne, Paul Hamilton, 37, 40, 41. 

Hemans, Mrs. Felicia Dorothea, 2. 

Henry, Patrick, 6, 10. 

Holmes, Dr. Oliver Wendell, 15, 22, 23, 65, 67, 68, 112. 

Howells, William Dean, 132-138, 152. 

Irving, Washington, 106, 107, 108-110. 

Jackson, Mrs. Helen Hunt, " H. H.," 29, 33. 

James, Henry, Jr., 139-145- 

Jewett, Sarah Ome, 148, 153. 

Johnston, Mary, 2, 168, 175-176, 177. 

Judd, Rev. Sylvester, 17. 

Kennedy, John Pendleton, 99, 105. 

Lanier, Sidney, 37, 41, 42. 

Larcom, Lucy, 29, 34. 

Lincoln, President Abraham, 85, 89. 

Longfellow, Henry W^adsworth, 2, 13, 14, 19, 20. 

Lowell, James Russell, 14, 15, 20-21, 22, 70, 72-73, 74. 

Mabie, Hamilton W^right, 71, 75, 76. 

McMaster, John Bach, 78, 83, 84. ; 

Magazines, American, 146-147. 



1 84 INDEX OF AUTHORS 

" Marvel, Ik," See Mitchell, Donald G. 

Mather, Rev. Cotton, 2, 4, 5. 

Matthews, Professor Brander, 151, 164, 165. 

Miller, Mrs. Harriet, " Olive Thome Miller," 92, 96, 97. 

" Miller, Joaquin," (Cincinnatus Hiner Miller,) 47, 55. 

Mitchell, Donald Grant, "Ik Marvel," 107, no, in. 

Mitchell, Dr. Silas Weir, 8, 12, 168, 175. 

Motley, John Lothrop, 77, 80. 

Murfree, Mary Noailles, " Charles Egbert Craddock," 149, 158. 

O'Reilly, John Boyle, 30, 35. 

Page, Thomas Nelson, 149, 155. 

Parker, Rev. Theodore, 56, 59. 

Parkman, Fra'ncis, 77, 80, 8i. 

Parsons, Thomas William, 28, 32. 

Perry, Nora, 30, 34, 35. 

Phillips, Wendell, 85, 88, 89, 90. 

Piatt, John James, 46, 53. 

Piatt, Mrs. Sarah Morgan, 46, 53. 

Poe, Edgar Allan, 36, 38-40, 41, 115-121, 126. 

Prescott, William Hickling, 77, 79, 80. 

Quincy, Josiah, 6, 10. 

Read, Thomas Buchanan, 44, 50. 

Rhodes, James F., 78, 83. 

Riley, James ^Vhitcomb, 47, 54. 

Roche, James Jeffrey, 30, 35. 

Ryan, Rev. Abram Joseph, " Father Ryan," 36, 40. 

ScoUard, Clinton, 45, 51. 

Cewall, Judge Samuel, i, 4, 5. 

Sill, Professor Edward Rowland, 28, 32. 

Simms, William Gilmore, 99, 104, 105. 

Smith, Captain John, i, 3. 



INDEX OF AUTHORS 185 

Stedman, Edmund Clarence, 44, 50, 70, 71, 74, 75. 

Stimson, F. J., 2. 

Stockton, Frank, 107, 113, 114. 

Stoddard, Richard Henry, 44, 49, 50. 

Stowe, Mrs. Harriet Beecher, 17, 148, 149, 154, 155. 

Stuart, Mrs. Ruth McEnery, 149, 156, 157. 

Sumner, Charles, 85, 89. 

Tabb, Rev. John Banister, " Father Tabb," 37, 40. 

Taylor, James Bayard Taylor, 43, 49. 

Teuffel, Blanche Willis Howard, Baroness von, 166, 169, 170. 

Thanet, Octave. See French, Alice. 

Thaxter, Mrs. Celia, 29, 3$, 153. 

Thomas, Edith Matilda, 47, 53, 54. 

Thompson, Ernest Seton-, 92, 97. 

Thompson, Maurice, 46, 53, 54. 

Thoreau, Henry David, 73, 91, 93-94, 95, 124. 

Ticknor, Francis O., 37, 42. 

Timrod, Henry, 37, 41. 

Torrey, Bradford, 92, 96. 

Transcendentalism, 29, 58, 60, 61, 62, 63, 64, 124. 

Trumbull, John, 7, 10. 

Twain, Mark. See Clemens, Samuel L. 

Very, Jones, 29, 32, 33, 

Wallace, General Lew, 167, 172, 173. 

«' Ward, Artemus." See Charles Farrar Browne. 

Ward, Mrs. Elizabeth Stuart Phelps-, 148, 154. 

Warner, Charles Dudley, 65, 66, 68, 69. 

Washington, President George, 6, lo. 

Webster, Daniel, 85, 87, 88. 

Whipple, Edwin Percy, 70, 72. 

Whitman, Walt, 45, 51, 52, 71. 



l86 INDEX OF AUTHORS 

Whittier, John Greenleaf, i6, 23, 24, 25, 71, 75. 
Wilkins, Mary E., 148, 152, 153. 
Winthrop, Theodore, 45. 
Woolman, John, 7, 11, 12. 



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